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.««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled.

Afulfillment of every vacation delight . . . executive conference fancy . . . and elegant home dream. A choice for a day ... a month . . . a year.

Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf

The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience.

Foxhollow . . . an tver growing select family.

Offerings in: Vacation Homes, Time- Shared Villas, Conference Center.

Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

One Hundred and Second Season, 1982-83

Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu

J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent

George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke Archie C. Epps III John Hoyt Stookey

Trustees Emeriti

Talcott M. Banks, Chairman of the Board Emeritus

Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan

Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris General Manager

William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Theodore A. Vlahos B.J. Krintzman

Director of Controller Director of Promotion Arlene Germain Planning Marc Solomon Financial Analyst Joyce Snyder Serwitz Director, Broadcasting Acting Director Nancy A. Kay and Special Projects of Development Director of Sales James E. Whitaker Katherine Whitty Charles Hall Manager, Rawson Coordinator of Symphony Hall Manager of Box Office Boston Council

James F. Kiley Anita R. Kurland Richard Ortner Operations Manager, Administrator of Administrator, Tanglewood Youth Activities Berkshire Music Center Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production Publications Coordinator Coordinator

Programs copyright ®1983 Boston Symphony Orchestra, Inc. Cover photo by Lincoln Russell i Orchestra, Inc. Board of Overseers of the Boston Symphony Chairman William J. Poorvu, Mrs. Lewis S. Dabney William M. Crozier, Jr. Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary

Gund E. James Morton Q. Adams Graham John John A. Perkins Weston Adams Mrs. R. Douglas Hall III Mrs. R. Pokross Richard E. Hartwell David Arnold, Jr. Mrs. David B. Curtis Prout Francis W. Hatch, Jr. Mrs. Hazen H. Ayer Radin M. Hilles Mrs. Eleanor Bruce A. Beal Ms. Susan BrachmanHoffma n Peter C. Read Mrs. Richard Bennink Mrs. Marilyn Kalman Harry Remis Bertozzi, Jr. Mrs. BelaT. Mrs. Edward J. S.Rice Louis L Kane Mrs. Peter van Peter A. Brooke Mrs. Charles Kasdon David Rockefeller, Jr. William M. Bulger Mrs. S. Kaye Mrs. Jerome Rosenfeld Louise Cabot Richard L. Mary William C. Rousseau Corning Kenly, Jr. Mrs. Julian Cohen Mrs. F. Kingsley Mrs. William H. Ryan Nat King Cole Mrs. Gordon F. Mrs. Francis P. Sears Congdon Mrs. Carl Koch Johns H. MarkL. Selkowitz Contas Robert K.Kraft Arthur P. Shalit C. Krentzman Gene Ms. Victoria L. Danberg Harvey Anthony Kutten Donald B. Sinclair William S. Edgerly Mrs. E. H. Lacy Richard A. Smith Alexander Ellis, Jr. Benjamin Mrs. Ralph Z. Sorenson John P. LaWare Frank L. Farwell Sprague Lawrence Peter J. A. Fibiger Mrs. James F. John Lyman Ray Stata Kenneth G.Fisher Mrs. Charles P. I. Strang Charles Marran Mrs. Arthur Peter H.B. Frelinghuysen C. Thompson August R.Meyer Mrs. Richard H. Thomas Galligan, Jr Mrs. Mrs. J. MarkTishler, Jr. William Middendorf II Thomas Gardiner J. Mrs. Ms. Luise Vosgerchian Garivaltis Paul M. Montrone Mrs. James Roger D. Wellington Goldberg Mrs. Hanae Mori Avram J. Donald B. Wilson Mrs. Stephen V.C. Morris Mrs. Mrs. Ray A.Goldberg Wilson Richard P. Morse John J. Jordan L. Golding Spurr Morse Nicholas T. Zervas Haskell R. Gordon Mrs. Thomas

Overseers Emeriti Mrs. Frank G.Allen Paul Fromm David W. Bernstein Carlton Fuller Leonard Kaplan

^sm THE TRADITIO CONTINUES...

THE BOSTON SYMPHONY ANNOUNCES A SEASON TO REMEMBER!

. For more than a century, the Boston Symphony has been renowned as an orchestra of international distinction. Join Seiji Ozawa and the Boston Symphony for a stunning 1983-84 season. Joining Ozawa and the

orchestra will be guest conductors Sir Colin Davis, Kurt Masur,

Joseph Silverstein, Michael Tilson Thomas, and in his BSO debut, Simon Rattle.

Soloists will include Rudolf Serkin, Emanuel Ax, Maurizio Pollini, Isaac Stern, Henryk Szeryng, Hildegard Behrens, and Frederica von Stade.

Highlights will include the first BSO performance of Mahler's magnificent ^ 'Das klagende Lied;' Berlioz' sublime I'Enfance du Christ;' and such masterpieces as Beethoven's 'Eroica,' the Brahms Fourth Symphony Mahler's

Symphony No. 4, and Mozart's Symphony No. 40. Subscribe now and join the

Boston Symphony in an extraordinary season at Symphony Hall.

.orchestra) To receive complete program and ticket information, call or write: ^'"'""'^ Symphony Hall, Boston, MA 02115. Tel. (617) 266-1492. YOU CAN TAKE IT WITH YOU...

Take home a taste of Tanglewood this summer by visiting the Glass House, Tanglewood's gift shop located by the Main Gate. From Tanglewood t-shirts to the Boston Symphony's centennial poster by American artist Robert Rauschenberg to the newest addition to the BSO family, Tanglewoodie the Raccoon, the Glass House offers a distinctive selection of gifts and souvenirs. The Glass House is open one hour before concerts, during intermissions and one hour after concerts, and weekdays from 10 a.m. to 4 p.m. l\MasterCharge and Visa credit cards are accepted.

?£;^ J* ^*l

TANGLEWOOD drawing a total of nearly 15,000 people. The Berkshire Festival In the winter of 1936, Mrs. In August 1934, a group of music- Gorham Brooks and Miss Mary loving summer residents of the Aspinwall Tappan offered Berkshires organized a series of Tanglewood, the Tappan family three outdoor concerts at estate, with its buildings and 210 Interlaken, to be given by members acres of lawns and meadows, as a of the New York Philharmonic gift to Koussevitzky and the under the direction of Henry orchestra. The offer was gratefully Hadley. The venture was so accepted, and on 5 August 1937 the successful that the promoters festival's largest crowd so far incorporated the Berkshire assembled under a tent for the first Symphonic Festival and repeated the Tanglewood concert, an all- experiment during the next Beethoven program. summer. At the all-Wagner concert which The Festival Committee then opened the 1937 festival's second invited Serge Koussevitzky and the weekend, rain and thunder twice Boston Symphony Orchestra to take interrupted the performance of the part in the following year's concerts. Rienzi Overture and necessitated the The orchestra's Trustees accepted, omission altogether of the Siegfried and on 13 August 1936 the Boston "Forest Murmurs," music too delicate Symphony gave its first concerts in to be heard through the downpour. the Berkshires (at Holmwood, a At the intermission. Miss Gertrude former Vanderbilt estate, later the Robinson Smith, one of the festival's W\M Center at Foxhollow). The series founders, made a fundraising appeal again consisted of three concerts and for the building of a permanent was given under a large tent. structure. The appeal was ./;"

References furnished request

Aspen Music School and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Pops Orchestra Philadelphia Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others Raldwin

:i:M;S^,--^- » circular handed out at the two goers. By 1941, the Theatre-Concert remaining concerts, and within a Hall, the Chamber Music Hall, and short time enough money had been several small studios — all part of the raised to begin active planning for a Berkshire Music Center, which had "music pavilion/' begun operations the preceding Eliel Saarinen, the eminent year — were finished, and the festival architect selected by Koussevitzky, had so expanded its activities and its

proposed an elaborate design that reputation for excellence that it went far beyond the immediate attracted nearly 100,000 visitors. needs of the festival and, more Today Tanglewood annually important, went well beyond the draws more than 300,000 visitors; in budget of $100,000. His second, addition to the twenty-four regular simplified plans were still too concerts of the Boston Symphony, expensive, and he finally wrote that there are weekly chamber music

if the Trustees insisted on remaining concerts, "Prelude" concerts and within their budget, they would open rehearsals, the annual Festival have "just a shed," which "any of Contemporary Music, and almost builder could accomplish without daily concerts by the gifted young the aid of an architect." The Trustees musicians of the Berkshire Music then turned to a Stockbridge Center. The Boston Pops performs engineer, Joseph Franz, to make each summer as well. The season further simplifications in Saarinen's offers not only a vast quantity of plans in order to lower the cost. The music but also a vast range of

building that he erected remains, musical forms and styles, all of it

with modifications, to this day; it is presented with a regard for artistic

still called simply "the Shed." The excellence that makes the festival Shed was inaugurated for the first unique.

concert of the 1938 festival. It has echoed with the music of the Boston Symphony Orchestra every summer The Berkshire Music Center since, except for the war years 1942- Tanglewood is much more than a 45, and has become almost a place of pleasant, outdoor, summer concert

hall; it is also the site of one of the most influential centers for h' advanced musical study in the United States. Here, the Berkshire Music Center, which has been MjH maintained by the Boston V-, « ;\ ,-v^ -Y He ^^^ Symphony Orchestra ever since its establishment under the leadership ^ ii B, ^ of Serge Koussevitzky in 1940, \ • i m i. provides a '; range spiecialized ^*^ i$hmSliHSk3i wide of * A«^ training and experience for young musicians from all over the world. The BMC was Koussevitzky's

pride and joy for the rest of his life. -""-i'T,,,! Ik':;. Hi Cfiim He assembled an extraordinary ' :«- - - . m :; . 1' \ '-'i^ ill iV \ !Bwl^imiyat^c^if^^iiw faculty in composition, operatic and Serge Koussevitzky choral activities, and instrumental J.i.

performance; he himself taught the most gifted conductors. The school TheNewJacob'sPillow opened formally on 8 July 1940, with speeches (Koussevitzky, alluding to the war then raging in Europe, said, Fifty-one and feisty "If ever there was a time to speak of Brash music, it is now in the New World") Bold and music, the first performance of Elegant Randall Thompson's Alleluia for unaccompanied chorus, which had International American been written for the ceremony and had arrived less than an hour before Futuristic the event was to begin, but which It's a new age of dance made such an impression that it has at Jacob's Pillow. remained the traditional opening music each summer. June 28-September 4 The emphasis at the Berkshire Music Center has always been not The Paul Taylor Dance Company on sheer technique, which students

Jazz Tap Ensemble learn with their regular private teachers, but on making music. Pillow Parade Although the program has changed New Directions: in some respects over the years, the Nina Wiener and Dancers; emphasis is still on ensemble Michael Moschen performance, learning chamber Hubbard Street Dance Company music with a group of talented Ballet '83: fellow musicians under the coaching New Views and Debuts of a master-musician-teacher. Many

Joyce Trisler Danscompany; of the pieces learned this way are Caick Hook Dance Theatre performed in the regular student

Ballet '83: recitals; each summer brings All That Glitters treasured memories of exciting performances by talented Jennifer Muller/The Works youngsters beginning a love affair Special Closing: A with a great piece of music. Anton Dolln In The Berkshire Music Center "Conversations... Diaghllev, NlJInsky, etc. ..." Orchestra performs weekly in concerts covering the entire Jacob's Pillow is located repertory under the direction of on George Carter Road student conductors as well as off Route 20 in Becket, members of the BMC staff and Massachusetts. visitors who are in town to lead the

Call Now: BSO in its festival concerts. The 413-243-0745 quality of this orchestra, put or write: together for just eight weeks each Jacob's Pillow Box Office summer, regularly astonishes Box 287 T Lee, Massachusetts visitors. It would be impossible to 01238 list all the distinguished musicians who have been part of that annual corps of young people on the verge of a professional career as educational programs at instrumentalists, singers, Tanglewood were extended to conductors, and composers. But it is younger students, mostly of high- worth noting that 18% of the school age, when Erich Leinsdorf members of the major orchestras in invited the Boston University School this country have been students at for the Arts to become involved with the Berkshire Music Center, and the Boston Symphony Orchestra's that figure is constantly rising. activities in the Berkshires. Today, Today there are three principal Boston University, through its programs at the Berkshire Music Tanglewood Institute, sponsors Center, each with appropriate programs which offer individual and subdivisions. The Fellowship ensemble instruction to talented Program provides a demanding younger musicians, with nine schedule of study and performance separate programs for performers for students who have completed and composers. most of their training in music and Today, alumni of the Berkshire who are awarded fellowships to Music Center hold important underwrite their expenses. It positions and play a vital role in the includes courses of study for musical life of the nation. instrumentalists, vocalists, Tanglewood and the Berkshire conductors, and composers. The Music Center, projects with which Tanglewood Seminars are a series of Serge Koussevitzky was involved A special instructional programs, this until his death, have become a summer including the Phyllis Curtin fitting shrine to his memory, Seminar for Singers, a Listening and a living embodiment of the vital, Analysis Seminar, and a Seminar for humanistic tradition that was Conductors. Beginning in 1966, his legacy. s^it;

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TANGLEWOOD INFORMATION

Ticket information for all Berkshire Festival events may be obtained at the desks at the Main Gate and at the Lion Gate or by calling 413-637-1940. Box office hours are from 10 a.m. until intermission on concert days, otherwise from 10 a.m. to 6 p.m.

Open rehearsals by the Boston Symphony Orchestra are held each Saturday morning at 10:30. Admission charge is $5.50, and the proceeds benefit the orchestra's Pension Fund.

The Lost and Found is in the superintendent's house near the Main Gate. Visitors who find stray property may hand it to any Tanglewood official.

Rest rooms and pay phones may be located on the map opposite.

The First Aid station is near the Main Gate. Physicians expecting calls are asked to leave their names and seat numbers with the guide at the Main Gate.

Limited parking facilities are available for invalids and the physically handicapped. Please ask the parking attendants.

Latecomers will be seated only at the first convenient pause in the program. Those listeners who need to leave before the concert is over are asked to do so between works, and not during the performance.

No smoking, eating, or drinking in the Tanglewood Shed, please. Your cooperation is appreciated.

The use of recording equipment at Tanglewood is forbidden at all times.

Cameras: You are welcome to bring cameras to Tanglewood, but please refrain from taking pictures during the music since the click of shutters, the winding of film, and the flash annoy your neighbors and distract the musicians. We thank you for your understanding and your courtesy.

Refreshments can be obtained in the area west of the Main Gate and at other locations on the grounds. Catering is by William Manewich. Visitors are invited to picnic before concerts.

T-shirts, posters, beach towels, postcards, books, and other souvenirs are on sale in the Glass House next to the Main Gate. Glass House hours are Monday through Saturday from 10 to 4; concert evenings from 6:30 to one hour after the concert; and Sunday from noon to one hour after the concert. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Berkshire Music Center.

The Tanglewood Music Store, adjacent to the Glass House and operated by the Boston Symphony Orchestra, stocks sheet music and musical supplies, scores, music books, and recordings. Whenever available, records and cassettes will feature the repertory and artists heard at Berkshire Music Festival concerts. The Tanglewood Music Store remains open for half an hour after the conclusion of each concert in the Shed.

BSO courtesy car provided by Hellawell Cadillac-Oldsmobile, Inc., Pittsfield.

Concerts of the Boston Symphony Orchestra and the Berkshire Music Center at Tanglewood are funded in part by the National Endowment for the Arts. Seiji Ozawa

His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he This is Seiji Ozawa's tenth season as became an artistic director in 1970. music director of the Boston In December 1970 he began his Symphony Orchestra; in the fall of inaugural season as conductor and 1973 he became the orchestra's music director of the San Francisco thirteenth music director since its Symphony Orchestra. The music founding in 1881. directorship of the Boston Symphony Born in 1935 in Shenyang, China, followed in 1973, and Mr. Ozawa to Japanese parents, Mr. Ozawa resigned his San Francisco position studied both Western and Oriental in the spring of 1976, serving as music as a child and later graduated music advisor there for the 1976-77 from Tokyo's Toho School of Music season. with first prizes in composition and conducting. In the fall of 1959 he As music director of the Boston won first prize at the International Symphony Orchestra, Mr. Ozawa Competition of Orchestra Con- has strengthened the orchestra's ductors, Besan^on, France. Charles reputation internationally as well as Munch, then music director of the at home, leading concerts on the Boston Symphony and a judge at the BSO's 1976 European tour and, in competition, invited him to Tangle- March 1978, on a nine-city tour of wood for the summer following, and Japan. At the invitation of the he there won the Berkshire Music Chinese government, Mr. Ozawa Center's highest honor, the then spent a week working with the Koussevitzky Prize for outstanding Peking Central Philharmonic student conductor. Orchestra; a year later, in March While working with Herbert von 1979, he returned to China with the Karajan in West Berlin, Mr. Ozawa entire Boston Symphony for a came to the attention of Leonard significant musical and cultural Bernstein, whom he accompanied on exchange entailing coaching, study, the New York Philharmonic's spring and discussion sessions with Chinese 1961 Japan tour, and he was made musicians, as well as concert an assistant conductor of that performances. Also in 1979, orchestra for the 1961-62 season. Mr. Ozawa led the orchestra on its first tour devoted exclusively to include, for Philips, Richard Strauss's appearances at the major music Also sprach Zarathustra and Bin Helden- festivals of Europe. Seiji Ozawa and lehen, Stravinsky's Le Sacre du printemps, the Boston Symphony celebrated the Hoist's The Planets, and Mahler's orchestra's one-hundredth birthday Symphony No. 8, the Symphony of a with a fourteen-city American tour Thousand; for CBS, a Ravel collab- in March 1981 and an international oration with mezzo-soprano Frederica tour to Japan, France, Germany, von Stade and the Mendelssohn Austria, and England in October/ Violin Concerto with Isaac Stern; November that same year. and, for Telarc, Vivaldi's Four Seasons Mr. Ozawa pursues an active with violin soloist Joseph Silverstein, international career. He appears and music of Beethoven — the Fifth regularly with the Berlin Phil- Symphony, the Egmont Overture, harmonic, the Orchestre de Paris, and, with soloist Rudolf Serkin, the the French National Radio Orchestra, Fourth and Fifth piano concertos. the Philharmonia of London, and the Mr. Ozawa has also recorded Roger New Japan Philharmonic, and his Sessions's Pultizer Prize-winning operatic credits include the Paris Concerto for Orchestra and Andrzej Opera, Salzburg, London's Royal Panufnik's Sinfonia Votiva, both works Opera at Covent Garden, and commissioned by the Boston La Scala in Milan. Mr. Ozawa has Symphony Orchestra for its cen- won an Emmy for the BSO's tennial, for Hyperion records. With iJ^ "Evening at Symphony" television soloist Itzhak Perlman, Ozawa and series. His award-winning record- the orchestra recently recorded the ings include Berlioz's Romeo et Juliette, violin concertos of Earl Kim and Schoenberg's Gurrelieder, and the Robert Starer for Angel/EMI. Berg and Stravinsky violin con- Mr. Ozawa holds an honorary Doctor certos with Itzhak Perlman. Other of Music degree from the New recordings with the orchestra England Conservatory of Music. *7t

II WILL YOU TAKE A SEAT?

The Boston Symphony Orchestra would like to offer you a permanent place in the Shed at Tanglewood, along with the masters of great music. During our birthday celebration, your gift of $2,500 to the Hundredth Anniversary Fund will endow your favorite seat. Your name, or that of someone you wish to honor, will be inscribed on a plaque affixed to the chair. This special contribution will insure the enjoyment of BSO concerts at Tanglewood not only for our 100th season but for years to come. Further, it provides a rare opportunity for a very personal association with the Orchestra. Please, won't you be seated?

For further information, please contact the Friends' Office, Tanglewood, Lenox, Massachusetts 01240; telephone: (413) 637-1600 'Aza Raykhtsaum Pasquale Cardillo 'Nancy Mathis Peter Hadcock E-flat Clarinet Violas Burton Fine Bass Clarinet S. Dana chair Charles Craig Nordstrom Patricia McCarty Stoneman chair Mrs. David Bassoons Wilkison Ronald Sherman Walt Robert Barnes Edward A. Taft chair Jerome Lipson Roland Small Bernard Kadinoff Ruggiero Music Direciorship endowed by Matthew Joseph Pietropaolo John Moors Cabot Michael Zaretsky Contrabassoon Marc Jeanneret Richard Plaster BOSTON SYMPHONY Betty Benthin ORCHESTRA *Lila Brown Horns *Mark Ludwig Charles Kavalovski 1982/83 Helen Sagoff Slosberg chair Cellos Richard Sebring Jules Eskin First Violins Daniel Katzen Philip R. Allen chair Richard Mackey Joseph Silverstein Martha Babcock Concertmaster Vernon and Marion Alden chair Jay Wadenpfuhl Charles Munch chair Charles Yancich Emanuel Borok Mischa Nieland Esther 5. and Joseph M. Shapiro chair Assistant Concertmaster Trumpets Helen Horner Mclntyre chair Jerome Patterson Schlueter Max Hobart Robert Ripley Charles Roger Louis Voisin chair Robert L. Beal. and Luis Leguia Andre Come Enid and Bruce A. Beal chair Carol Procter Timothy Morrison Cecylia Arzewski *Ronald Feldman Edward and Bertha C. Rose chair Moerschel Bo Youp Hwang *Joel Trombones Miller John and Dorothy Wdson chair *Jonathan Ronald Barron chair Max Winder *Sato Knudsen ].P. and Mary B. Barger Bolter Harry Dickson Basses Norman Forrest f. Collier chair Hallberg Edwin Barker Gordon Gottfried Wilfinger Harold D. Hodgkinson chair Tuba Fredy Ostrovsky Lawrence Wolfe Schmitz Leo Panasevich Hearne Chester Joseph and William C Rousseau chai Carolyn and George Roudand chair Margaret Bela Wurtzler Sheldon Rotenberg Leslie Martin Timpani Alfred Schneider John Salkowski Everett Firth Raymond Sird chair John Barwicki Sylvia Shippen Wells Ikuko Mizuno *Robert Olson Amnon Levy Percussion *James Orleans Charles Smith Flutes Arthur Press Second Violins Timpanist Doriot Anthony Dwyer Assistant Churchill Marylou Speaker Walter Piston chair Thomas Gauger chair Fahnestock Fenwick Smith Frank Epstein Uritsky Vyacheslav Mr. and Mrs. Robert K. Kraft chair Charlotte and Irving W. Rabh chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Joseph McGauley Lois Schaefer Willona Henderson Sinclair chair Evelyn and C Charles Marran chair Leonard Moss Laszlo Nagy Oboes Personnel Managers *Michael Vitale Ralph Gomberg William Moyer *Harvey Seigel Mildred B. Remis chair Harry Shapiro *Jerome Rosen Wayne Rapier *Sheila Fiekowsky Alfred Genovese Librarians *Gerald Elias English Horn Victor Alpert *Ronan Lefkowitz Laurence Thorstenberg William Shisler *Nancy Bracken Phyllis Knight Beranek chair James Harper *Joel Smirnoff Clarinets *Jennie Shames Harold Wright Stage Manager *Nisanne Lowe Ann S.M. Banks chair Alfred Robison

*Participating in a system of rotated seating within each string section. The BSO Salutes Business

On Tuesday, June 21, John Williams conducted the Boston Pops in a special concert: Presidents at Pops 1983. Over 100 leading New England busiaesses were in attendance — each receiving 20 tickets for their senior management, key clients and friends.

A special gourmet picnic dinner and champagne is served at this festive occasion. Participation also includes the Leadership Dinner: an elegant dinner dance held on the floor of Symphony Hall, honoring the president or Chief Executive Officer of each company. Plan now to participate in Presidents at Pops 1984. The Program is sure to sell out quickly.

For information, please call Eric Sanders, Director of Corporate Development at Symphony Hall, phone: 617-266-1492. These companies participated in "PRESIDENTS AT POPS 1983"

ADCO Publishing, Inc. Houghton Mifflin Company Affiliated Publications Howard Johnson Company (The Boston Globe) E.F. Hutton& Company, Inc. Alpha Industries IBM Corporation Analog Devices, Inc. Ionics Incorporated Augat, Inc. John Hancock Bank of New England Mutual Life Insurance Company Barry Wright Corporation Johnson, O'Hare Company, Inc. BayBanks, Inc. Jones & Vining, Inc. Bell Manufacturing Company Kaufman & Co. Bentley College Kenyon & Eckhardt Blyth Eastman Paine Webber, Inc. Knapp King- Size Bolt Beranek and Newman Inc. LEA Group The Boston Consulting Group Label Art, Inc. Boston Edison Company Leach & Gamer Company Buckley & Scott Co. Lee Shops, Inc. Burgess & Leith Incorporated Liberty Mutual Insurance Co. Burr, Egan, Deleage & Company Marks International Cahners Publishing Co., Inc. Mercury International Trading Corp. Cesari & McKenna Narragansett Capital Corporation Charles River Breeding Laboratories, Inc. New England Mutual Citicorp, Inc. Life Insurance Company Clark- Franklin- Kingston Press New England Telephone Commercial Union Insurance Companies Newsome & Co., Inc. Computer Partners, Inc. Ocean Spray Cranberries Inc. Coopers & Lybrand O'Donnell-Usen Fisheries Country Curtains Parlex Corporation Creative Gourmets, Ltd. Patriot Bancorporation Cullinet Software, Inc. Peat, Marwick, Mitchell & Co. Damon Corporation Plymouth Rubber Company, Inc. Daniels Printing Pneumo Corporation Data Packaging Corporation Prime Computer, Inc. Digital Equipment Corporation Printed Circuit Corporation Dunkin' Donuts Prudential Insurance Company of America Dynatech Corporation Raytheon Company Eastern Gas & Fuel Associates Shawmut Bank of Boston Econocorp, Inc. Shaw's Supermarkets, Inc. Epsilon Data Management Signal Technology Corporation Ernst & Whinney Spencer Companies, Inc. Farrell, Healer & Co. State Stt-eet Bank & Trust Co. Wm. Filene's Sons Company The Stop & Shop Companies, Inc. First Boston Corporation The Stride Rite Corporation First National Bank of Boston Systems Engineering & Mfg. Corporation The Forum Corporation TA Associates Framingham Trust TAD Technical Services Corporation Frank B. Hall & Company Touche Ross & Co. of Massachusetts, Inc. Towle Manufacturing Company GTE Products Corporation Trans National, Inc.. Gadsby & Hannah Tucker, Anthony & R. L. Day General Cinema Corporation United States Trust Company The Gillette Company WBZ-TV h Giltspur Exhibits/Boston WCVB-TV Haemonetics Corporation WNEV-TV Hatoffs Wang Laboratories, Inc. Helix Technology Wheelabrator-Frye, Inc. Heritage Travel, Inc. Woodstock Corporation Herrick & Smith Zayre Stores

I JlH - -V».f-"

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D My check is enclosed. D Please bill me. character of the Boston Symphony A Brief History of the was greatly changed in 1918, when Boston Symphony Orchestra Henri Rabaud was engaged as conductor; he was succeeded the For many years. Civil War veteran, season Pierre Monteux. philanthropist, and amateur following by musician Henry Lee Higginson These appointments marked the beginning of a French-oriented dreamed of founding a great and tradition which would be permanent orchestra in his home maintained, even during the town of Boston. His vision Russian-born Serge Koussevitzky's approached reality in the spring of time, with the employment of many 1881, and on 22 October that year French-trained musicians. the Boston Symphony Orchestra's inaugural concert took place under the direction of conductor Georg Henschel. For nearly twenty years, symphony concerts were held in the old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors — Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler — culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912- 18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These Henry Lee Higginson concerts, soon to be given in the springtime and renamed first The Koussevitzky era began in "Popular" and then "Pops," fast 1924. His extraordinary became a tradition. musicianship and electric personality During the orchestra's first proved so enduring that he served decades, there were striking moves an unprecedented term of twenty- toward expansion. In 1915, the five years. In 1936, Koussevitzky led orchestra made its first the orchestra's first concerts in the transcontinental trip, playing Berkshires, and a year later he and thirteen concerts at the Panama- the players took up annual Pacific Exposition in San Francisco. summer residence at Tanglewood. Recording, begun with RCA in the Koussevitzky passionately shared pioneering days of 1917, continued Major Higginson's dream of "a good with increasing frequency, as did honest school for musicians/' and in radio broadcasts of concerts. The 1940 that dream was realized with Drawing by Douglas McGregor People by Norman Rockwell

Since 1773

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OLD CHATHAM NEWyORK12136 • (518)766-2222 Johannes Brahms necessarily from the composer of 7 May 1833 — 3 April 1897 "the music of the future," Wagner. It is ironic that so much ink was spilled over the two composers and their followers, when, in fact, both of them claimed allegiance to the same source: Beethoven. Each found what he needed there — and they were very different things, to be sure. Brahms was unusually knowledge- able about the music of the past. In fact, even today, when we have thousands of historical recordings to listen to and dozens of editions of

composers from all periods, a composer with the sheer historical learning of a Brahms would be regarded as a phenomenon. Brahms

learned it all the hard way — studying old scores and manuscripts, which he collected, reading centuries- The 150th anniversary of Brahms's old musical treatises and annotating birth is being celebrated during the their points of dispute with one 1983-84 season. another. (His library, still kept together at the Gesellschaft der Musikfreunde in Vienna, bears witness to his boundless thirst for

In an age of outspoken egotists knowledge on all subjects musical.) eager to proclaim their artistic values In a lighter vein, perhaps, especially in feisty manifestos, he was a quiet, to students who have struggled private man who preferred to let his through music theory courses, work speak for itself, even when Brahms kept a private catalogue of some outspoken critics blatantly passages in which the great com- misunderstood it. Against his will he posers broke one of the fundamental found himself chosen as the symbol rules of part-writing: the avoidance of a campaign against the musical of parallel fifths or octaves. But for trends headed by Wagner. The rift Brahms it was not simply a matter between the "Brahmsians" and the of catching Homer nodding — his

"Wagnerians" is one of the more manuscript contains citations from ridiculous aspects of nineteenth- Bach, Beethoven, and Mozart, some century music, and it was only in of his personal heroes, as well as this century that a composer could composers going well back into the safely espouse the two camps sixteenth century — as it was an together, as Schoenberg did when he attempt to learn why and when the wrote his famous essay "Brahms the "rules" can be broken and what

Progressive," which demonstrated artistic purpose it serves. brilliantly that many important techniques of modern music grew Brahms might be considered the quite naturally out of the things first "modern" composer in the

Brahms had done all along, not special sense that he was the first —

composer to take active part in the techniques but actually by recreating musicological movement. He edited them in terms of his own musical Schubert's symphonies for the first needs. Today there is scarcely any complete edition of that composer's composer who has not, at some works, and he edited keyboard music time, been powerfully influenced by of the French Baroque composer music written generations, even Francois Couperin as well. He may centuries, before his time. Until be the very first exemplar of a kind Brahms came along, that never

of composer that is now rather happened; if a composer knew even familiar — one to whom the entire his musical grandfathers, he was history of music is present and remarkably learned. available as a source of learning and The significance of Brahms's inspiration. Brahms's familiarity with studies of older music shows up older music played a powerful role in most directly, perhaps, in his choral

his own creative work, for he music. That is the medium in which reinvigorated forms and techniques the vast majority of older composers

such as the passacaglia in the last had written, and it is a medium that movement of the Fourth Symphony most nineteenth-century composers or the ground bass finale of the handled with little real under- Haydn Variations — that were regarded standing of the importance of as hopelessly antiquated. And he contrapuntal line. Most nineteenth- did it not simply by copying the century choral music is purely

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harmonic in interest and often painfully simplistic in its conception as a series of interweaving lines, which was always the glory of earlier centuries. But Brahms understood this. His choral music is never simply an imitation of the past (though he occasionally offers homage to such great predecessors as Schiitz or Bach), but it is always conceived fundamentally in accord with the linear nature of the ensemble; the result is a body of music that retains its strength today, when most of the vast ocean of

Romantic choral compositions have Brahms in his thirties dropped out of sight. Brahms's interest in line also plays As for the orchestra, Brahms's a part in his work as a song writer. work has never been as fundamental

He was not a devotee of poetry who as Beethoven's, though it has sought to capture every inflection of certainly remained firmly entrenched a text in his music. The melody came in the standard repertory ever since first, in partnership with the bass it first arrived there (which is to say, line; all else followed from that. after overcoming various degrees of He played a great deal of chamber prejudice and antipathy in various music himself, and he seemed to be places). The four symphonies are able to find new ways of treating the never long absent, and the four traditional genres that left him concertos — two for piano, one for indisputably the greatest composer violin, and one for violin and cello — of chamber music of the whole last have always been touchstones of a half of the century. The require- certain gigantic level of technique ments for the genres included, first of all, giving each player something interesting to do. Brahms's boundless technique could enliven a passage with a new countermelody, a syncopated accompaniment, an evocative rescoring. Always he recreated his materials, even from the beginning to the end of the movement — rare indeed is a simple repetition of something that has gone before. The beneficiaries of his bounty — the stringed instruments, piano, clarinet, and horn — have been endlessly grateful for the last century and have made his chamber music, along with Beethoven's, the foundation of the repertory.

Brahms in later life 'X^iM

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Together, we can find the answers. Honeywell and bold musicianship. It is hard for middle of things (though not an us to realize now what a struggle all "outsider" either). His music often these works had originally to make hints at the ends of things — he sings their mark and be established in the of autumn, old age, and death, and repertory. As recently as 1900, when always in elegiac rather than Symphony Hall was being built, the dramatic terms. Perhaps, then, the joke went around Boston that the quintessential Brahms composition is required exit signs over the doors the Alto Rhapsody, in which Goethe's should say, "Exit in case of Brahms." text tells of one who is "ahseits" ("off This was a full quarter-century after to the side"), seeking from the the First Symphony, and three years psalter of the "Father of Love" the after the composer's death! But single chord that would reconcile familiarity has gradually helped us to him with humanity. Perhaps it is comprehend the rich inventiveness this strain of yearning to rejoin our of the composer's musical mind, fellow human beings that strikes

which is probably what made him such a responsive chord in our seem so difficult in the first place. personal isolations today. Certainly, Brahms always considered himself as the 150th birthday of Brahms an "Abseiter," someone who is "off passes, he is more than ever a to the side" of life, not quite in the musical presence among us.

— Steven Ledbetter

A BRAHMS CELEBRATION AT TANGLEWOOD marking the 150th anniversary of the composer's birth

The Four Symphonies: No. 1 (Friday, 8 July); No. 2 (Friday, 12 August); No. 3 (Sunday, 31 July); No. 4 (Friday, 12 August)

The Concertos: Piano Concerto No. 1 (Friday, 15 July); Piano Concerto No. 2 (Friday, 19 August); Violin Concerto (Saturday, 9 July); Double Concerto (Saturday, 16 July)

Academic Festival Overture (Sunday, 21 August); Tragic Overture (Friday, 22 July); Variations on a Theme by Haydn (Sunday, 17 July); Serenade No. 2 (Saturday, 16 July)

Alto Rhapsody (Friday, 29 July); A German Requiem (Saturday, 30 July)

Chamber Music: Violin Sonatas No. 1 (Thursday, 7 July), No. 2 (Friday, 12 August — Prelude), No. 3 (Friday, 19 August — Prelude); Cello Sonatas No. 1 (Friday, 8 July — Prelude), No. 2 (Wednesday, 3 August); Piano Quartet No. 1 in G minor. Op. 25 (Friday, 15 July — Prelude); Piano Quintet in F minor, Op. 34 (Thursday, 30 June); String Quartet No. 1 (Thursday, 30 June), String Sextet in B-flat (Friday, 1 July); Clarinet Trio (Friday, 1 July); Horn Trio (Saturday, 2 July)

Songs (Friday, 8 July — Prelude); Four Serious Songs (Thursday, 28 July); Choral Music (Friday, 29 July — Prelude) Music to your mouth.

Lobster pie, crisp native duck- ling, prime ribs, baked Indian pudding, grasshopper pie. Our hearty Yankee fare and libations taste as good as they sound. At The Publick House, traditions of cooking and hospitality go back about as far as symphonic ones. Why, we were feeding hungry travellers before Beethoven had his first birthday! We invite you to partake of dinner en route to Tanglewood, or supper on your way home. We're located only a few minutes (and two centuries) from the Massachusetts Turnpike and 1-86. So break your journey by breaking bread with us. ^.-^^y^ Buddy Adler Innkeeper n 1 i- i / j4r\T ¥ rublick U^Py House

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The quiet woods and meadows and unpaved paths of New England's Old Sturbridge Village offer a pleasant respite from urban sprawl. Come see the lambs finding their legs near the 150-year-old steepled meetinghouse, and wildflowers brushing clapboard houses. Then visit with authentically- dressed artisans crafting their wares at the iciln, the blacksmith shop and ^ down the roads of this re-created village of the 1 830's. The traditions of a simpler America thrive here amid the old water-driven mills, the woridng farm, and the several homes aglow with period furnishings. * Come, relax and enjoy. It's time for you.

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BENJAMIN LUXON, baritone ANDRE PREVIN, piano

SCHUBERT An die Leier, D.737 Der Einsame, D.800 Der Wanderer, D.489 Dass sie hier gewesen, D.775 Dem Unendlichen, D.291

BRAHMS Vier ernste Gesange (Four Serious Songs), Opus 121 Denn es gehet dem Menschen Ich wandte mich und sahe an O Tod, wie bitter bist du Wenn ich mit Menschen- und mit Engelszungen redete

INTERMISSION

VICTORIAN AND EDWARDIAN SONGS AND BALLADS

words/music EDGAR ALLEN POE/HENRY LESLIE Annabelle Lee HON. MRS. NORTON/JOHN BLOCKLEY The Arab's Farewell to his Favorite Steed

words & music J. AIRLIE DIX The Trumpeter words & music CHARLES K. HARRIS Break the News to Mother words & music HENRY LAMB The Volunteer Organist F.E. WEATHERLY/STEPHEN ADAMS The Holy City E.W. SPENCER/CHARLES GLOVER The Rose of Tralee R. ELTON/D. HARRISON Give Me a Ticket to Heaven HARRY B. SMITH/WILLIAM PENN Pansy Faces CHARLES KINGSLEY/ CHARLES GILBERT SPROSS Lorraine Lorraine Loree words & music KATIE MOSS The Floral Dance

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July 16 7:30 PM July 23 7:30PM

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July 30 7:30 PM Wagner Mozart Meistersinger Solemn Vespers (SCENES) MassinCMinor John Mauceri Lorna Cooke deVaron They are beautiful evenings, filled with great music, the 100-voice Berkshire Festival August 6 7:30 PM Chorus, outstanding soloists and conductors. The Springfield Symphony Orchestra, the green lawns of a 500-acre campus, and the stars. Come. With family, with friends. Have a picnic. Wine Brahms & cheese are available on the grounds. Box seats: A German Requiem $12.00; Orchestra: $7.00. For reservations, call (413) 229-6634 after 4 July. Tickets also avail- able at performances. The concert shed is on the of The Berkshire School in Mass., Robert Page campus SW just north of Salisbury, Conn. Entry, parking, departure are all mercifully swift and simple.

Johann,Giuseppe, Richard, W)lfgang,Johannes and ±ie Berkshire Choral Festival

Berkshire School lies on the uesi side of Route 4 1 m souihwestern Massachusetts, 9.5 miles north of Salisbury, Connecticut, or 3 mi7es south of the intersection of Routes 23 and 41 near South Egremont, Massachusetts. Notes

Schubert was by no means the first composer to write great songs, but the number and variety of his Lieder made him the inspiration and model for all the great song composers who followed him in nineteenth-century Germany, Brahms more than most. Schubert's An die Leier is a setting of a poem by one of the "Anacreontic poets" of late eighteenth-century Germany who tried to recapture some of the spirit of the Greek writer. This particular song expresses the poet's attempts to compose in the grand heroic style, which falter because he finds he keeps slipping into the lyric mode. The piano part suggests the singer's attempt at the epic style, but he finds that he keeps slipping back to a love song, until finally he recognizes the futility of attempting anything else. The poet Carl Lappe is remembered today only for two poems that Schubert set to music; one of these, Der Einsame, is a genial hymn to self-centered contentment and self- sufficiency. The piano figuration suggests the crackling fire, the falling embers, and the chirp of the cricket as the singer exults in his solitude — perhaps just a shade defensively? Der Wanderer was an early Schubert song — composed in October 1816 — that became one of his most famous, second only to Erlkonig in the nineteenth century. It is the quintessential Romantic song, in which the poet yearns constantly to be someplace, anyplace else, because only there will he find happiness. The song is also remembered because Schubert took a passage from it — at the beginning of the second stanza — as a basis for one of his greatest piano works, the Wanderer Fantasy. A daringly chromatic beginning conceals the home key of Dass sie hier gewesen, in which Schubert creates a magical effect by ranging between this insubstantial opening and the solidity of the cadence at the end of each verse. Dem Unendlichen, the earliest piece included here, is not so much a song as it is a grand aria from some unwritten oratorio, complete with recitative and broad arioso sections; Klopstock's declamatory poem could hardly have been treated differently, and the young Schubert calls for the grandest musical gestures in rendering Klopstock's sublimity.

An astonishing number of Brahms's songs, from quite early in his life, deal with the fundamental issues of mortality, usually in such poetic metaphors as autumn (related, of course, to the "autumn years" of life), falling leaves, and yearning for earlier times. Not until he came to the very end of his life, though, did he confront the image of death directly, but then he did it head-on, with his last song collection, simply entitled

Four Serious Songs. In fact these songs are all settings of Biblical texts (one — the third — from the Apocrypha), and they are serious indeed. The first three are among the most austere passages in the Bible (assembled purposely by a composer who, though not a believer in any traditional sense, knew his Bible inside out) to lament the vanity of all things and the desirability of death when nothing more is to be hoped for. But then he caps the work with a setting of the famous passage from Paul's letter to the Corinthians on the subject of love. The music suggests almost an oratorio rather than a song cycle (there are a few sketches in Vienna for a

Week IV projected orchestral version that Brahms never finished), alternating moments of recitative with broad melody. The final song recovers somewhat from the intense disillusionment of the first three with a positive final affirmation built on one of the grandest of all vocal lines

I ! ever conceived by Brahms, a superb arch of melody spanning nearly two octaves to set the final two lines of his text with radiant and serene confidence. Few epithets can be more damningly applied to a composition today than the phrase "parlor music." Yet a century ago the parlor was the place where most people heard music, far more frequently than at concerts (and there was of course no radio or phonograph to bring in music from the outside). More important, the parlor was the place where people actually performed music on whatever instrument and at whatever level of ability, rather than allowing themselves to be passively entertained, as so often happens today. The parlor was the great bastion of musical democracy: Beethoven might be played in alternation with Henry Bishop, Frederic Clay, or Arthur Sullivan. Everyone with any musical background would be expected to take part at some point, singing or playing whatever instrument he or she could manage. Naturally, the higher the level of technical ability, the more demanding the music that would be played, but even in households with musicians of near-professional caliber, the parlor song and the popular ballad found an honored place on the piano bench. Publishers turned out a vast quantity of this repertory because there were hundreds and thousands of people whose music-making depended on them. Though many of the songs were of only transient interest, the best of them captured something very real about their time and the people who composed and sang them. The prime desideratum was a memorable melody, with a catchy rhythm, and words that could tell a story, comic or tragic. Certainly there were themes that sometimes seem faded and passe to us today, but are we really so much more sophisticated? Or do we prefer to forget those prized Victorian qualities of the pure and simple life because they are so hard to attain? Whichever the case, we can benefit from revisiting the parlors of seventy, ninety, or a hundred years ago for their repertory of songs of great directness and honesty.

— Steven Ledbetter —

An die Leier To his Lyre

Ich will von Atreus' Sohnen, I will sing of Atreus' sons, von Kadmus will ich singen! of Cadmus will I sing! Doch meine Saiten tonen Yet my strings sound nur Liebe im Erklingen. only songs of love.

Ich tauschte um die Saiten, I changed the strings, die Leier mocht' ich tauschen! I'd like to change the lyre! Alcidens Siegesschreiten Alcides' triumphant steps sollt' ihrer Macht entrauschen! should be the theme of its power!

" 1^ Doch auch die Saiten tonen Yet again my strings sound nur Liebe im Erklingen! only songs of love! So lebt denn wohl, Heroen! So farewell, heroes! Denn meine Saiten tonen, For my strings sound — statt Heldensang zu drohen, instead of threatening with heroic son^ nur Liebe im Erklingen. only songs of love.

— Franz Ritter von Bruchmann

Der Einsame The Solitary One

Wenn meine Grillen schwirren, When my fancies roam, bei Nacht, am spat erwarmten Herd, at night by my late-warmed hearth, dann sitz ich mit vergniigtem Sinn then I sit, comfortable in my mind, vertraulich zu der Flamme hin, communing with the flames, so leicht, so unbeschwert. content and unburdened.

Ein trautes, stilles Stiindchen One likes to remain awake by the fire bleibt man noch gern am Feuer wach, for one intimate, quiet hour, man schiirt, wenn sich die Lohe senkt, one stirs up the fire when the flame die Funken auf und sinnt und denkt: sinks, and meditates and thinks: nun abermal ein Tag! another day!

Was Liebes oder Leides Whatever of pleasure or sorrow sein Lauf fiir uns dahergebracht, its course has brought us, es geht noch einmal durch den Sinn; runs once more through the mind; allein das Bose wirft man hin, only the evil do we cast away, es store nicht die Nacht. that it may not disturb the night.

Zu einem frohen Traume For a pleasant dream bereitet man gemach sich zu, one gradually prepares oneself, V\^ann sorgenlos ein holdes Bild when, without sorrow, a fair image mit sanfter Lust die Seele fiillt, fills the soul with gentle joy, ergibt man sich der Ruh. and one yields to rest.

Oh, wie ich mir gefalle Oh how I am content in meiner stillen Landlichkeit! in my quiet rusticity! Was in dem Schwarm der lauten Welt That which, in the loud world's swarms, das irre Herz gefesselt halt, holds the wandering heart enchained, gibt nicht Zufriedenheit. does not give contentment.

Zirpt immer, liebe Heimchen, Chirp away, dear cricket, in meiner Klause eng und klein. in my narrow little room.

Ich duld euch gern: ihr stort mich nicht, I suffer you with pleasure; you don't disturb me. wenn euer Lied das Schweigen bricht, When your song breaks the silence, bin ich nicht ganz allein. I am not entirely alone.

— Carl Lappe

— Please turn the page quietly. I

Der Wanderer The Wanderer

Ich komme vom Gebirge her, I come from the mountains hither, es dampft das Tal, es braust das Meer. the vale is misty, the sea roars.

Ich wandle still, bin wenig froh, I wander silently, am rarely happy, und immer fragt der Seufzer: wo? and always the sigh asks: "Where?" Immer wo? Always "Where?"

Die Sonne diinkt mich hier so kalt. The sun seems to me to be so cold here, Die Bliite welk, das Leben alt, the blossom faded, life old, und was sie reden, leerer Schall, and what they say, empty sound;

ich bin ein Fremdling iiberall. I am a stranger everywhere.

Wo bist du, mein geliebtes Land? Where are you, my beloved homeland? Gesucht, geahnt, und nie gekannt! Sought for, sensed, but never known! Das Land, das Land, so hoff nungsgriin, The land, the land so green with hope, das Land, wo meine Rosen bliihn. the land where my roses blossom,

Wo meine Freunde wandeln gehn, where my friends go wandering, wo meine Toten auferstehn, where my dead rise again, das Land, das meine Sprache spricht, the land that speaks my language, O Land, wo bist du? oh, land, where are you?

Ich wandle still, bin wenig froh, I wander silently, am rarely happy, und immer fragt der Seufzer: wo? and always the sigh asks: "Where?" Immer so? Always "Where?" Im Geisterhauch tont's mir zuriick: And the ghostly sound comes back to me: :% "Dort, wo du nicht bist, dort ist das Gliick!' "There, where you are not, there is happiness!' 1 — Georg Philipp Schmidt von Liibeck Dass sie hier gewesen That they have been here Dass der Ostwind Diifte That the east wind's fragrance hauchet in die Liifte, breathes in the air dadurch tut er kund, brings testimony dass du hier gewesen! that you were here!

Das hier Tranen rinnen, That tears are running here dadurch wirst du innen, will tell you, war's dir sonst nicht kund, if it weren't already obvious, dass ich hier gewesen! that I have been here!

Schonheit oder Liebe, Beauty or love, ob versteckt sie bhebe, though they might have been concealed, Diifte tun es und Tranen kund, fragrances and tears testify dass sie hier gewesen! that they have been here!

— Friedrich Riickert

Dem Unendlichen To the Infinite

Wie erhebt sich das Herz, wenn es dich, How my heart leaps when it thinks Unendlicher, denkt! wie sinkt es, of thee, o Infinite One! How it sinks, wenns auf sich herunterschaut! when it gazes down upon itself! Elend schauts wehklagend dann, und It sees misery lamenting then, and Nacht und Tod! night, and death!

Allein du rufst mich aus meiner Nacht, der But you call me out of my night, you who in Elend, der im Tode hilft! give aid in misery, in death!

Dann denk ich es ganz, dass du ewig mich Then I realize that you created me eternal. schufst, Herrlicher! den kein Preis, unten am Grab', Splendid One! whom no praise, below in oben am Thron, the grave, above at the throne. Herr Gott! den, dankend entflammt, kein Lord God! whom, glowing with thanks, no Jubel genug besingt. rejoicing sufficiently celebrates.

Weht, Baume des Lebens, Im Harfengeton! Wave, trees of life, with the sound of the harp! Rausche mit ihnen ins Harfengeton, Roar with them in the sound of the harp, krystallner Strom! crystal stream! Ihr lispelt, und rauscht, und, Harfen, ihr You whisper and rush, and, harps, you never tont fully nie es ganz! Gott ist es, den ihr preist! recapture the sound! It is God whom you praise

Donnert, Welten, in feierlichem Gang, in Thunder, worlds, along your solemn course, der Posaunen Chor! in the chorus of trombones! Du Orion, Wage, du auch! You, Orion, and you. Libra! Tont air ihr Sonnen auf der Strasse voll Resound, all you suns, on the street of Glanz, splendor, In der Posaunen Chor! in the chorus of trombones!

Ihr Welten, donnert You worlds, thunder, Und du, der Posaunen Chor, hallest and you, chorus of trombones, never nie es ganz, Gott; nie es ganz, Gott, resound enough, God, never enough, God, Gott, Gott ist es, den ihr preist! God, God it is whom you praise!

— Friedrich Gottlieb Klopstock

Week IV Vier ernste Gesange Four Serious Songs

Denn es gehet dem Menschen wie dem For one mischance awaits man and the Vieh, beast, wie dies stirbt, so stirbt er auch; death comes to both alike; und haben alle einerlei Odem; they all draw the same breath. I I und der Mensch hat nichts mehr denn Men have no advantage over beasts; das Vieh; denn es ist alles eitel. for all is emptiness. Es fahrt alles an einen Ort; All go to the same place; es ist alles von Staub gemacht all come from the dust, I

I Staub. to the dust all return. I und wird wieder zu and

II I Wer weiss, ob der Geist des Menschen Who knows whether the spirit of man goes

1 I 1 aufwarts fahre, upward und der Odem des Viehes or whether the spirit of the beast unterwarts unter die Erde fahre? goes downward to the earth?

Darum sahe ich, dass nichts Bessers ist, So I saw that there is nothing better denn dass der Mensch f rohlich sei in seiner than that a man should enjoy his work, Arbeit; denn das ist sein Teil. for that is his lot. Denn wer will ihn dahin bringen, For who can bring him through dass er sehe, was nach ihm geschehen to see what will happen after him? wird?

— Ecclesiasles 3:19-22

Ich wandte mich und sahe an alle Again I considered all die Unrecht leiden unter der Sonne; the acts of oppression here under the sun;

und siehe, da waren Tranen, derer, I saw the tears of the oppressed,

die Unrecht litten und hatten keinen and I saw that there was no one to comfort Troster, them. und die ihnen Unrecht taten waren zu Strength was on the side of their oppressors, machtig, dass sie keinen Troster haben konnten. and there was no one to avenge them.

Da lobte ich die Toten, die schon gestorben I counted the dead happy because they were waren, dead, mehr als die Lebendigen, die noch das happier than the living who are still in Leben hatten; life.

und der noch nicht ist, ist besser als alle More fortunate than either I reckoned the beide, man yet unborn, und des Bosen nicht inne wird, who had not witnessed the wicked deeds das unter der Sonne geschieht. done here under the sun.

— Ecclesiastes 4:1-3

O Tod, o Tod, wie bitter bist du, Death, how bitter is the thought of you wenn an dich gedenket ein Mensch to a man der gute Tage und genug hat living at ease among his possessions, und ohne Sorge gelebet; free from anxiety, und dem es wohl geht in alien Dingen prosperous in all things, und noch wohl essen mag! and still vigorous enough to enjoy a good meal! O Tod, o Tod, wie bitter bist du. Death, how bitter is the thought of you. O Tod, wie wohl tust du dem Diirftigen Death, how welcome is your sentence to him der da schwach und alt ist, whose strength is failing, worn down by age der in alien Sorgen steckt, and endless anxiety, und nichts Bessers zu hoffen and has nothing better to hope for noch zu erwarten hat. or expect. O Tod, o Tod, wie wohl tust du. O Death, how welcome you are.

— Ecclesiasticus 41:1-3 Wenn ich mit Menschen- und mit I may speak in tongues of men or angels, Engelszungen redete, und hatte der Liebe nicht, but if I am without love, so war ich ein tonend Erz I am a sounding gong oder eine klingende Schelle. or a clanging cymbal.

Und wenn ich weissagen konnte I may have the gift of prophecy, und wiisste alle Geheimnisse und alle and know every hidden truth; Erkenntnis und hatte alle Glauben, also, I may have faith strong enough dass ich Berge versetzte to move mountains; und hatte der Liebe nicht, but if I have no love, so ware ich nichts. I am nothing. >.} Und wenn ich alle meine Habe den I may dole out all I possess, Armen gabe und liesse meinen Leib brennen or even give my body to be burnt, und hatte der Liebe nicht, but if I have no love, so ware mir's nichts niitze. I am none the better. Wir sehen jetzt durch einen Spiegel in Now we see only puzzling reflections in einem dunkeln Worte, a mirror, dann aber von Angesicht zu Angesichte. but then we shall see face to face. Jetzt erkenne ich's stiickweise, My knowledge now is partial; dann aber werd ich's erkennen, then it will be whole, gleich wie ich erkennet bin. even as I am known. Nun aber bleibet Glaube, Hoffnung, Liebe, In a word, there are three things that last diese drei: forever: faith, hope, and love; aber die Liebe ist die grosste unter ihnen. but the greatest of them all is love.

— J. Corinthians 13:1-3, 11-13

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ALL-BRAHMS PROGRAM

O Heiland, reiss die Himmel auf, Opus 74, No. 2

Zwolf Lieder und Romanzen, Opus 44 Minnelied Der Brautigam Barcarolle Fragen Die Miillerin Die Nonne Rosen in Bliithe Die Berge sind spitz und die Berge sind kalt Am Wildbach die Weiden, die schwanken Und gehst du iiber den Kirchhof Die Braut Marznacht

Lass dich nur nichts nicht dauren, Opus 30

Fest- und Gedenkspruche, Opus 109 Unsere Vater Wenn ein starker Gewappneter Wo ist ein so herrlich Volk

Dem dunkeln Schoss der heilgen Erde

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I

11 Week IV The human voice is a melodic rather than a harmonic instrument, best

served by composers who write with a clear sense of line. It is scarcely surprising then that Brahms should have composed the most distinguished body of choral music to be written in the nineteenth century, an age when most composers were investigating subtle shadings and refinements of harmony, often to the detriment of a feeling for linear progression. But Brahms, as an eager student of the great choral music of

earlier centuries, learned (if he did not already know instinctively) how to create the kind of music that favored the interweaving of different vocal parts to create rich and varied textures and harmonies, though always with a strong, singable thread of melody in each voice. At the same time, he was

aware (as all great choral composers must be) of the ever-changing tone •'i:- qualities of soprano, alto, tenor, and bass voice throughout their ranges, so > that in combination he could achieve wonders of expression through the carefully arranged climaxes of massed voices in their most resonant I registers. Brahms achieved his mastery of choral technique both from a study of the older masters and also from a good deal of practical experience as a choral conductor, especially in his younger years at Detmold and Hamburg from about 1857 to 1863. From this time on he wrote a large number of choral works of all sizes, from the great German Requiem to slight folk-song adaptations. Most of the smaller works were for mixed voices, though there were a substantial number of pieces for women's voices composed while he conducted a chorus of women at Detmold. The texts range from folk songs to Biblical passages and the whole range of poetry from slight poetasters to Goethe and Schiller. O Heiland reiss die Himmel auf (O Savior, rend the heavens asunder), Opus 74, No. 2, was composed between 1860 and 1865, though not published until

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12 late in the 1870s. The anonymous text is an old Lutheran chorale, and

Brahms has taken the old melody that went with it to recreate the polyphonic style of the seventeenth and early eighteenth centuries. This motet could very well be an homage to J.S. Bach and his immediate predecessors, cast as it is in strict counterpoint as a set of chorale variations, with the original melody heard in the soprano for the first two stanzas, in the tenor for the third stanza, and in the bass for the fourth.

The final stanza is a somewhat freer paraphrase of the melody culminating in an elaborate "Amen." The composer's devotion to older musical practice caused him almost totally to submerge his own musical personality in an act of historical homage (though the two-against-three patterns in the third stanza are surely a giveaway!). The twelve short pieces for women's voices with optional piano accompaniment were composed between 1859 and 1863 and published as Opus 44. Most of them are filled with the spirit of folk song — the diatonic melodies being repeated literally from one stanza to another (with an occasional telling change, such as the last stanza of Die Nonne) — yet even here, in the most simple of these settings, Brahms often extends a phrase just beyond our expectation to create a greater breadth of line. The last song in the set, Marznacht, is replete with complex contrapuntal interweaving of the four vocal lines, though it is that subtle art that conceals itself in order to express the dismay and delight inherent in the change from winter to spring.

Another contrapuntal tour-de-force is one of the composer's earliest surviving choral works, composed in the spring of 1856 and published later as a "Geisiliches Lied" ("Sacred Song"), Opus 30, with a text by the great seventeenth-century hymn writer Paul Flemming. The motet is constructed of two interlocking canons (that is, strict imitations, with one voice literally imitating another throughout) at a time interval of one measure and a pitch interval of a ninth (an octave plus one step); the soprano and tenor form one pair, alto and bass another. The sheer power of Brahms's technique in this understated piece was regarded by many romantically inclined observers as dry and pedantic, necessarily requiring a shackling of the imagination, though musicians today, who are much more interested in contrapuntal technique than were those of a century ago, are astonished at the combination of expression with the high- mindedness of Brahms's writing.

The much later motets published as Opus 109 under the title ¥esi- und Gedenkspruche are altogether broader in effect. These solemn, yet radiant, compositions are cast in the double-chorus format familiar to Brahms from the motets of J.S. Bach and composers before him, leading back to Heinrich Schiitz and on back into the sixteenth century. The outgoing spirit of these works may, in part, have been motivated by the event for which they were composed — the composer's reconciliation with his native city of Hamburg, to which he returned in 1889 after a quarter-century's absence to be honored with the "freedom of the city." The set of motets (whose title may be translated "Festival and Commemorative Epigrams") assembles a series of Biblical passages as admonition, praise, and words of promise, a forthright prelude to a civic ceremony, as well as a profound

13 Week IV homage to the composer's own musical forebears. The final work on the present program is an early composition which Brahms never chose to publish in his lifetime. He wrote Dem dunkeln Schoss der heilgen Erde (To holy earth's dark womb) in Hamburg just before leaving to accept the post of director of the Singakademie in Vienna in 1863. The music was not published until 1927. It is a beautifully conceived, understated setting of a passage from Schiller's Das Lied von der Glocke (The

Lay of the Bell), a lengthy moralizing poem that was once memorized by virtually every German schoolchild as a matter of course. The lines chosen by Brahms draw an analogy between the harvest of the husbandman in his field and the more precious harvest of the immortal soul after death. In this short work, Brahms eschews technical wizardry and concentrates on a freely expressive setting of Schiller's words.

— Steven Ledbetter

O Heiland reiss die Himmel auf O Savior, rend the heavens asunder

O Heiland, reiss die Himmel auf, O Savior, rend the heavens asunder, herab, herauf vom Himmel lauf, come down from heaven, reiss ab vom Himmel Tor und Tiir, tear aside the gate and door of heaven, reiss ab was Schloss und Riegel fiir. tear open what was bolted and barred.

O Gott ein Tau vom Himmel giess, O God, pour down a dew from heaven, im Tau herab, o Heiland, fliess, flow into that dew, O Savior; ihr Wolken brecht und regnet aus you clouds, break open and rain down den Konig iiber Jakobs Haus. a king over the house of Jacob.

O Erd schlag aus, schlag aus, o Erd, O earth bring forth, bring forth, o earth, dass Berg und Tal griin alles werd, that mountain and valley may become green; o Erd herfiir dies Bliimlein bring, o earth, bring forth this blossom. o Heiland aus der Erde spring. Savior, spring forth from the earth.

Hie leiden wir die grosste Not, Here we suffer the greatest distress, vor Augen steht der bittre Tod, before our eyes stands bitter death; ach, komm, fiihr uns mit starker Hand come, lead us with thy strong hand von Elend zu dem Vaterland. for our misery to our Father's realm.

Da wollen wir all danken dir, Then we shall all thank thee, unserm Erloser fiir und fiir, our redeemer, forever and ever; da wollen v/ir all loben dich, then we shall praise thee je allzeit immer und ewiglich. at all times forever and eternally.

— anon.

Zwolf Lieder und Romanzen

Minnelied Love Song

Der holdseligen sonder Wank To my fair one unwaveringly

sing' ich frohlichen Minnesang, I sing joyous songs of love, denn die Reine, for the pure one

die ich meine, whom I mean winkt mir lieblichen Habedank. offers me sweet recompense.

Ach bin inniglich minnewund, Ah, I am inwardly wounded with love, gar zu minniglich kiisst ihr Mund, her mouth kisses so lovingly.

14 ! ^1 lacht so griisslich. laughs with such greetings, 1

J lockt so kiisslich. entices so with kisses 1 dass mir's bebt in des Herzensgrund. that my heart trembles. R

Gleich der sonnigen Veilchenau Like the sunny field of violets

glanzt der wonnigen Augen blau; her joyous blue eyes sparkle; % ' frisch und riindchen fresh and round bliiht ihr Miindchen her mouth blossoms gleich der knospenden Ros' im Thau. like the budding rose in the dew.

Ihrer Wangelein Hchtes Roth Her cheeks' blushing red hat kein Engelein so mir Gott! cannot be found on any angel, oh God!

Eia! sass ich Eia! If I only could sit unablassig constantly

bei der PreisHchen bis zum Tod! by this praiseworthy creature until I die!

— anon.

Der Brautigam The Bridegroom

Von alien Bergen nieder Down from all the mountains so frohlich Griissen schallt. resounds a merry greeting;

das ist der Friihling wieder. it is spring again. der ruft zum griinen Wald. calling to the greenwood.

Dein Liedchen ist erklungen Your song has resounded herauf zum stillen Schloss, up to the silent castle.

dein Liebster hat's gesungen. your beloved has sung it. der hebt dich auf sein Ross. he who lifts you up onto his steed.

Wir reiten so geschwinde We ride so swiftly

-Il__ \ Jl 1 :^ C-.. C -11 1 • I

da rauscht die Luft so linde, the air murmurs so mildly in Waldeseinsamkeit. in the forest solitude.

Wohin? in Mondenschimmer, Whither? In the moonlight so bleich der Wald schon steht. the forest stands so pale. Leis' rauscht die Nacht, frag' nimmer, Softly the night rustles; never ask wo Lieb' zu Ende geht! where loves comes to an end!

— anon.

Barcarolle Barcarolle

"O Fischer auf den Fluthen, Fidelin! "O fisherman on the floods, Fidelin! Komm schnell zu fischen her." Come quickly to fish over here." Und auf seinem schmucken Kahne, And on his trim little boat, auf dem Kahne rudert er. on his boat he steers, Fidelinlinla. Fidelinlinla. "Was willst du, dass ich fische? Fidelin!" "What do you want me to fish?" "Mein Ringlein fiel in's Meer." "My ring fell into the sea. Und auf seinem (etc.) "Dir lohnt die schonste Borse, Fidelin! "I'll reward you with the finest purse, Von hundert Thalern schwer." laden with a hundred Thalers." Und auf seinem (etc.) "Nicht will ich deine Borse, Fidelin! "I don't want your purse, Von hundert Thalern schwer." laden with a hundred Thalers. Und auf seinem (etc.) "Ein liebevolles Kiisschen, Fidelin! A loving kiss, Ein Kuss ist mein Begehr." a kiss is my demand." Und auf seinem (etc.)

— anon, (from the Italian)

15 Week IV —

Fragen Questions

Wozu ist mein langes Haar mir dann. Why do I have such long hair wenn ich kein Band drein flechten kann? if I can't weave a ribbon into it? Wozu ist mein Fiisschen mir flink und fein, And why is my foot so agile and dainty

darf tanzen ich nicht mit dem Liebsten if I may not dance with my beloved? mein?

Wozu ist mir nur die weisse Hand, What good is my white hand

I darf ich nicht halten den Liebsten if I can't hold my love in embrace? umspannt? Wozu mein Aug mir so schwarz und so What good my eye, so black and so sharp, scharf, wenn's nicht mehr den Liebsten erspahen If it may no longer espy my love? darf?

Wozu sind mir die Gedanken mein? Why do I have thoughts? zu denken, mein Liebster, allimmer dein! To think, my beloved, always of you!

— Slavic song

Die Miillerin The Miller's Daughter

Die Miihle, die dreht ihre Fliigel, The mill turns its vanes, der Sturm, der saus't darin, a storm rages within, und unter der Linde am Hiigel, and under the linden tree on the hill da weinet die Miillerin. weeps the miller's daughter.

Lass sausen den wind und brausen, Let the wind rush and roar,

ich habe gebaut auf den Wind, I have relied in the wind,

ich habe gebaut auf die Schwiire, I have relied upon promises

da war ich ein torichtes Kind. in that I was a foolish child.

Noch hat mich der Wind nicht belogen, Yet the wind has not betrayed me, der Wind, der blieb mir treu, the wind remained faithful,

nun bin ich verarmt und betrogen, yet I am now impoverished and betrayed, die Schwiire, die waren nur Spreu. the promises were but chaff.

Wo ist, der sie geschworen? Where is he who swore them? Der Wind nimmt den Klagen nur auf. The wind takes up my lament. Er hat sich auf's Wandern verloren, He has lost himself a-wandering, es findet der Wind ihn nicht auf. and the wind cannot track him down.

— Adalbert von Chamisso

Die Nonne The Nun

Im stillen Klostergarten In the silent cloister garden eine bleiche Jungfrau ging; walked a pale maiden; der Mond beschien sie triibe, the moon shone drearily on her, an ihrer Wimper hing on her eyelids hung die Trane zarter Liebe. tears of tender love.

"O wohl mir, dass gestorben "It is good that my true love der treue Buhle mein! has died!

Ich darf ihn wieder lieben: Now I may love him again: Er wird ein Engel sein, he will be an angel,

und Engel darf ich lieben." and angels I may love."

Sie trat mit zagem Schritte She walked with hesitant step wohl zum Marienbild; to the image of Mary;

16 es stand in lichteni Scheine, it stood in a soft halo, es sah so muttermild looking down with maternal gentleness herunter auf die Reine. on the pure one.

Sie sank zu seinen Fiissen, She sank down at its foot, sah auf mit Himmelsruh, looked up with celestial peace, bis ihre Augenlider until her eyelids im Tode fielen zu; closed in death; ihr Schleier wallte nieder. her veil fluttered down.

Ludwig Uhland

Rosen in Bliithe Roses in Bloom -if ^ Nun stehn die Rosen in Bliithe, Now the roses are blooming, da wirft die Lieb' ein Netzlein aus. and Cupid throws out a little net. Du schwanker, loser Falter, You supple, free butterfly, du hilfst dir nimmer heraus. you'll never escape!

Und wenn ich waren gefangen And if I were caught in dieser junger Rosenzeit, in this early time of roses, und war's die Haft der Liebe, even if Love were my guard,

ich miisste vergehen vor Leid. I would pass away for sorrow.

Ich mag nicht sehnen und sorgen, I may not yearn or sorrow, durch bliihende Walder schweift mein my path runs through blossoming forests. Lauf. Die liift'gen Lieder fliegen My airy songs fly bis in die Wipfel hinauf. up into the branches of the trees.

Die Berge sind spitz The mountains are pointed

Die Berge sind spitz und die Berge sind The mountains are pointed and the kalt, mountains are cold;

mein Schatz steigt zu Berge und ich in my love climbs the mountains, I walk in den Wald. the forest. Da tropfelt das Laub von Regen und Tau, There the trees drip with rain and dew; ob die Augen da tropfeln, wer sieht es if teardrops run from my eyes, who will see genau! it?

-anon.

Am Wildbach die Weiden The Willows of Wildbach

Am Wildbach die Weiden, The willows of Wildbach die schwanken Tag und Nacht. sway day and night. Die Liebe von uns beiden Our love hat Gott so fest gemacht. has God made as firm as that.

Am Wildbach die Weiden, The willows of Wildbach die haben nicht Wort und Ton. have no word or speech. Wenn sich die Augen besprechen, When the eyes communicate, so wissen die Herzen davon. then the heart understands.

— anon.

— Please turn the page quietly.

17 Week IV 1983 Festival of Contemporary Music at Tanglewood Co-sponsored by the Fromm Music Foundation at Harvard and the Berkshire Music Center

Saturday, 13 August — Thursday, 18 August 1983 !

Saturday, 13 August, 1:30 p.m.: Tent Festival Preview with Gunther Schuller, Director of Contemporary Music Activities at the Berkshire Music Center; Hans Werner Henze, Composer- in-Residence at the Berkshire Music Center; and Paul Fromm, Director, Fromm Music Foundation at Harvard. Saturday, 13 August, 2:30 p.m.: Theatre-Concert Hall Members of the Berkshire Music Center Fellowship Program Works by Richard Felciano, Hans Werner Henze, Rodney Lister*, Brian Fennelly, and Toru Takemitsu

Sunday, 14 August, 2:30 p.m.: Shed Boston Symphony Orchestra Seiji Ozawa, conductor Concert including Peter Lieberson's Piano Concerto with soloist Peter Serkin (commissioned by the Boston Symphony Orchestra for its centennial)

Sunday, 14 August, 8:30 p.m.: Theatre-Concert Hall Members of the Berkshire Music Center Fellowship Program Works by Paul Alan Levi, Erich Urbannert, Donal Fox*, John Melby, and Jonathan Lloydf

Monday, 15 August, 8:30 p.m.: Theatre-Concert Hall Boston Symphony Chamber Players, with Benita Valente, soprano, and Gilbert Kalish, piano Works by Arnold Schoenberg, Elliott Carter, and Earl Kim

Tuesday, 16 August, 8:30 p.m.: Theatre-Concert Hall Members of the Berkshire Music Center Fellowship Program Theodore Antoniou, conductor Works by Robert X. Rodriguez, Peter Maxwell Davies, and George Antheil

Wednesday, 17 August, 8:30 p.m.: Theatre-Concert Hall Berkshire Music Center Orchestra Gunther Schuller, conductor Works by Richard Busch, Hans Werner Henze, David Chaitkin, and Edgard Varese

Thursday, 18 August, 8:30 p.m.: Theatre-Concert Hall Sequoia String Quartet Works by Ctaus Adam, Milton Babbitt, and Beethoven

*commissioned by the Berkshire Music Center and the Fromm Foundation for this Festival; first performance

tfirst United States performance All events except the Boston Symphony Orchestra on 14 August and the Sequoia String Quartet on 18 August, both of which require Berkshire Festival Tickets available at the Tanglewood Box Office, are free to Friends of Music at Tanglewood and open to the public for a $4.00 contribution at the Main Gate ($5 on 17 August).

18

fl^BH^^,.x ^^ Und gehst du iiber den Kirchhof And if you go to the churchyard

Und gehst du iiber den Kirchhof, And if you go to the churchyard, da findst du ein frisches Grab; you'll find there a fresh grave; da senkten sie mit Tranen there, with weeping, they buried ein schones Herz hinab. a beautiful heart.

Und fragst du woran's gestorben, And if you ask why it died, kein Grabstein Antwort gibt; no stone will give an answer; doch leise fliistern die Winde, but the winds softly whisper, es hatte zu heiss geUebt. "It loved too ardently."

Die Braut (Von der Insel Riigen) The Bride (from the Isle of Riigen)

Eine blaue Schiirze hast du mir gegeben, You have given me a blue pinafore, Mutter, schad urns Farben, mother, too bad about the dyes, Mutter, schad urns Weben! mother, too bad about the weave! Morgen in der Friihe Early tomorrow morning

wird sie bleich erscheinen, it will appear so pale,

will zu Nacht so lange tonight I shall weep

Tranen auf sie weinen. long tears upon it.

Und wenn meine Tranen And if my tears es nicht schaffen konnen, cannot accomplish it, wie sie immer stromen, as they ever stream forth, wie sie immer brennen, as they ever burn, wird mein Liebster kommen my love will come und mir Wasser bringen, and bring me water, wird sich Meereswasser will wring sea-water aus den Locken ringen. out of his locks.

Denn er liegt da unten For he is lying below in des Meeres Grunde, on the ocean floor,

und wenn ihm die Wogen and if the waves rauschen diese Kunde, whisper to him this news, dass ich hier soil freien that I should court again und ihm treulos werden, and be faithless to him, aus der Tiefe steigt er he will arise from the deep auf zur bosen Erden. to the wicked earth.

In die Kirche soil ich Into church now shall I go,

nun, ich will ja kommen, I will come there will mich fromm gesellen and piously unite zu den andern Frommen. with another pious man. Lasst mich am Altare Let me pass silently still voriiberziehen, by the altar, denn dort ist mein Platzchen, for over there is my place, wo die Witwen knieen. where widows kneel.

— Wilhelm Muller

Marznacht March Night

Horch! wie brauset der Sturm Hark! how the storm roars und der schwellende Strom in der Nacht and the swelling stream in the night! hin! Schaurig susses Gefijhl! Sweet shudder! lieblicher FrCihling, du nahst! dear Spring, you draw near!

— Ludwig Uhland

19 Week IV Lass dich nur nichts nicht dauren Let nothing ever grieve thee

Lass dich nur nichts nicht dauren Let nothing ever grieve thee mit Trauren, with sorrow, sei stille, be still, wie Gott es fiigt, as God has ordained it, so sei vergniigt be content, mein Wille. my will.

Was willst du heute sorgen Why should you care today auf morgen, about tomorrow? der Line The One God steht allem fiir, directs everything,

I I der gibt auch dir and he will give you, too, das Deine. that which is yours.

Sei nur in allem Handel Only be in all your doings ohn' Wandel, unchanging, steh' feste, stand firm. was Gott beschleusst, What God determines das ist und heisst is and is called das Beste. the best.

Amen. Amen.

Paul Flemming

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20 Fest- und Gedenkspriiche

Unsere Vater Our fathers

Unsere Vater hofften auf Dich; Our fathers trusted in thee; und da sie hofften, halfst Du ihnen aus. and since they trusted, thou didst help them. Zu dir schrieen sie, Unto thee did they cry und wurden errettet, and were delivered, sie hofften auf Dich they hoped in thee und wurden nicht zuschanden. and were not confounded. Der Herr wird Seinem Volk Kraft geben, The Lord will give strength unto his people, der Herr wird Sein Volk segnen mit the Lord will bless his people with peace.

Frieden. r ' t — Psalm 22:5,6; Psalm 29:11

Wenn ein starker Gewappneter When a strong man fully armed

Wenn ein starker Gewappneter When a strong man fully armed seinen Palast bewahret, is on guard over his castle, so bleibet das Seine mit Frieden. his possessions are safe. Aber: ein jeglich Reich, But: every kingdom so es mit ihm selbst uneins wird, divided against itself das wird wiiste, und ein Haus fallet goes to ruin, and one house iiber das andere. falls over the other.

— Luke 11:21,17

Wo ist ein so herrlich Volk What great nation

Wo ist ein so herrlich Volk zu dem Gotter What great nation has gods nache sich tun, als der Herr, unser Gott, close at hand as the Lord our God so oft wir Ihn anrufen? is close to us whenever we call to him? Hiite dich nur, und bewahre deine Seele Only take care: be on the watch wohl, dass du nicht vergessest der Geschichte not to forget the things die deine Augen gesehen haben, that you have seen with your own eyes, und dass sie nicht aus deinem Herzen and do not let them pass from your minds komme alle dein Lebelang, as long as you shall live, und sollt deinen Kindern und but teach them to your children and your Kindeskindern kund tun. Amen. children's children. Amen.

— Deuteronomy 4-:7,9

Dem dunkeln Schoss der heilgen Erde To holy earth's dark womb

Dem dunkeln Schoss der heilgen Erde To holy earth's dark womb vertraut der Samann seine Saat, the husbandman entrusts his seed,

und hofft, dass sie entkeimen werde hoping that it will sprout zum Segen, nach des Himmels Rat. as a blessing, according to heaven's will. Noch kostlicheren Samen bergen Still more precious seed do we hide, wir trauernd in der Erde Schoss mourning, in earth's womb und hoffen, dass er aus den Sargen and hope that from the grave it will erbliihen soil zu schonerm Los. blossom to a fairer fate.

— Friedrich von Schiller, "Das Lied von der Glocke'

21 Week IV U i.

22 J BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director * Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor i

Friday, 29 July at 9

KLAUS TENNSTEDT conducting

BRAHMS Rhapsody for Contralto, Male Chorus, and Orchestra, Opus 53 MAUREEN FORRESTER, contralto MEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

BRUCKNER Symphony No. 4 in E-flat, Romantic Bewegt, nicht zu schnell (With motion, not too fast) Andante quasi Allegretto Scherzo. Bewegt; Trio: Nicht zu schnell. Keinesfalls schleppend (Not too fast. On no account dragging) Finale. Bewegt, doch nicht zu schnell (With motion, but not too fast)

Please do not take pictures during the concert. Flashbulbs, in particular, distract the musicians and other members of the audience.

Please be sure the electronic signal on your watch or pager is switched off during the concert. Philips, Telarc, CBS, Deutsche Grammophon, Hyperion, and RCA records Baldwin piano

23 Week IV NOTES

Johannes Brahms Rhapsody for Contralto, Male Chorus, and Orchestra, Opus 53

Johannes Brahms was born in Hamburg, Germany, on 7 May 183 3 and died in

Vienna, Austria, on 3 April 1897. The Alto Rhapsody was composed in 1869 and

had its first hearing at a closed rehearsal at Karlsruhe in the fall of that year; Pauline

Viardot- Garcia was soloist and Hermann Levi conducted. The first public performance

was given at ]ena on 3 March 1870 with Ernst Naumann conducting and again with

Mme. Viardot -Garcia. The first American performance was given by the Boston

Symphony Orchestra during its first season, on 11 February 1882 at the Boston Music

Hall: the soloist was Mary H. How, the conductor Georg Henschel. The score calls for contralto solo, four-part male chorus, and an orchestra of flutes, oboes, clarinets, and

bassoons in pairs, two horns, and the usual strings.

About the time the D minor piano concerto had its first run of performances, Brahms completed his A major Serenade but then wrote no more orchestral pieces until the Haydn Variations of 1873. He composed meanwhile the great sets of piano variations on themes by Handel and Paganini; chamber music including the two string sextets, the Piano Quintet, the Horn Trio, the E minor cello sonata, and the first of his

string quartets that he thought fit for publication; and much music for voices, from Lieder to the German Requiem. The accompanied vocal works of this period — the German Requiem, the little-known Goethe cantata

Rinaldo, the Alto Rhapsody, the Song of Fate, and the Song of Triumph (a handsome neo-Handelian blaze rendered disreputable by its too blatant crowing over the defeated French after the 1870-71 war) — were, among other things, tools for Brahms to sharpen his orchestral skills. Brahms the songwriter has been accused of having no literary taste, especially when compared with his mentor, Schumann, and his much

younger contemporary, Hugo Wolf. It is true that in casting around for Lieder texts he was not looking for the exquisite lyric as much as for the stimulus of atmosphere or for the telling phrase and that he often found what he needed in verse by writers whom, but for Brahms, we would not know. Brahms was in fact a reader of huge appetite and sharp discernment who gathered a library including the complete available works of Boccaccio, Byron, Cervantes, Goethe, Keller, Lessing, Lichtenberg, Schiller, Shakespeare, and Tieck (the foreigners in German translation), as well as many anthologies of poetry and collections of folk songs. In his choral works, which he regarded as "large statements" as distinct from the genre paintings and lyric contemplations of his Lieder and part-songs, he turned to the books he cherished most and knew best, in first place to the Bible, then to Goethe, and also to Schiller and Holderlin. Brahms had been setting Goethe since the time of the First Piano Concerto, and Rinaldo — that fascinating yet not quite convincing essay in Sturm und Drang — had occupied him off and on for several years in the

24 1860s. He was moved — reminded, as it were — to compose the Alto Rhapsody by seeing someone else's setting of the same text. To his friend and biographer, the philologist and music historian Hermann Deiters, he wrote in September 1869:

I recall having seen at your house a book of songs by Reichardt (or possibly Zelter) that included a passage from Goethe's Harzreise (Aber

abseits wer ist's?). I need hardly say that I have just set it and that I

should very much like to see my precursor's work. I am calling my

piece (for solo contralto, male chorus, and orchestra) "Rhapsody," but I

believe that I am indebted to the honorable gentleman who had the floor before me for that as well.

Except that Reichardt began his setting not, like Brahms, with "Aher abseits wer ist's?" but six lines later, at "Ach, wer heilet die Schmerzen," Brahms had remembered accurately: the Rhapsody by Johann Friedrich Reichardt (1752-1814), Kapellmeister to Frederick the Great, as well as observant and deft reporter in many books of the European cultural scene of his time, was published in 1790 in the third volume of an extensive collection titled Cdcilia of Reichardt's songs and church pieces. While Brahms had not looked long at Reichardt's Rhapsody, something of what he had seen had stuck, and in asking to see the piece again he was obviously eager to satisfy his curiosity as to just how much — consciously and unconsciously — he had taken over from his "verehrten Vorredner." ^rdih.vc\.s's setting is in a richer musical language and it is the product of a more complicated mind; many similarities, however, between the two Rhapsodies — key, meter, even a few details of melodic contour, the change to C major at "Ist auf deinem Psalter" — are too striking to be nothing but coincidence.

Johann Wolfgang von Goethe

25 Week IV What Brahms set is three stanzas of a long poem — thirteen stanzas, eighty-eight lines in all — called Harzreise im Winter, or Journey through the

Harz Mountains in Winter. Goethe wrote the poem on just such a journey in December 1777. He was twenty-eight, the celebrated author of Gotz von

Berlichingen and The Sufferings of Young Werther, and, since November 1775, a resident of Weimar, whose reigning Duke he served as Minister of State, Director of Theaters, Inspector of Mines, Intellectual- and Scientist-at-

Large, and, in his later years, principal tourist attraction. It was ostensibly to inspect mining villages that Goethe journeyed into the mountains, but characteristically he had a complex agenda in view: he wanted to climb the Brocken, the highest peak of the Harz chain and famous as the site of the

Witches' Sabbath (as such it would become enormously important in Faust); he also needed to clear his head; and in response to a plea for comfort, he went to visit a certain Friedrich Viktor Leberecht Plessing, a theology student who lived in the Harz district and who had become morose, misanthropic, and generally depressed as a result of reading

Werther.* Harzreise im Winter is in many ways a difficult poem, allusive, full of quick shifts of subject and point of view. Fastening upon what Thomas Mann called "those words so wonderfully versed in the ways of souls," that is, the three stanzas that speak to the Plessing part of Goethe's mission, Brahms gives us the most directly, most piercingly communicative portion of the poem. Brahms set great store by the Rhapsody; in a letter to his publisher

Fritz Simrock he calls it "the best that I have prayed so far," adding that

Tlessing did not respond to the cool Olympian breezes of Goethean therapy, though his story does in fact have a perfect German happy ending: his melancholia vanished some years later, he took his degree, was awarded a university appointment, and thus ended his days as Herr Professor Doktor Plessing.

SUBSCRIBE NOW TO THE 1983-84 SEASON OF THE BOSTON SYMPHONY ORCHESTRA AT SYMPHONY HALL IN BOSTON AND CARNEGIE HALL IN NEW YORK.

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26 t

there are enough people in need of such a prayer; that for a time he slept with the score of "this somewhat intimate music," as he called it, under his pillow. The Rhapsody — intimate, yes, especially in orchestration (no brass except one pair of horns, no drums), but of gripping power in declamation, harmony, and rhythmic tension — is as near as Brahms ever came to writing opera. The progression from orchestral introduction through recitative, arioso, and aria, to a finale with a chorus of sympathetic onlookers, is absolutely operatic. Opera was something in '» which Brahms was, let us say, never quite uninterested; it was something to discuss from time to time with writer friends; and by the end of the 1860s — and we should remember that both the Alto Rhapsody and the Song of Fate are the work of a man barely into the second half of his thirties — it y i was also something about which to say that if he had tried it once in his UL youth, even tried it and failed, he would not mind having another go at it, but as it was, he was now too old for a first opera just as he was too old for a first marriage. Tovey has summarized the content of the Alto Rhapsody so beautifully that it would be perverse not to quote him:

Goethe's Harzreise im Winter is an ode in which the poet uses the winter scenery of the Harz Forest as a background for the figures of huntsmen and foresters happy in the brotherhood of their crafts, contrasted with the solitary misanthrope whose embittered soul has poisoned all that human loving-kindness can do for him. A God has appointed to each man his path; the happy man runs his course swiftly to its joyous end; but he whose heart misery has contracted, struggles in vain against the iron bonds which only the bitter shears of fate

shall sever at last. It is easy to follow the carriage which Good Fortune drives, as the leisurely cavalcade on the new-levelled road follows the Prince's entry in state. At this point Brahms begins his interpretation of the poem, selecting with a musician's insight the three middle stanzas which.

Eu^eJcA - ^f »^ ^ for scores, sheet music music books & oenoOicois ono mdepenaer^tiy-proauced records

OPENING IN MID-JULY NORTHAMPTON

27 without rising to the Pindaric ecstasy of the climax, contain in a completeness of their own the poet's heartfelt prayer to the Father of Love to restore the soul of the lonely hater of men. With shudders the orchestra presents an introductory picture of the slow steps of the recluse, the springing back of the bushes through which he breaks, the slow rise of the tall grass he has trodden, and the solitude that engulfs him. Then the alto gives words to the description, following the tracks through wider modulations, and thus rounding off this introduction with great musical breadth and simplicity.

The aria proper begins v^ith "Ach, wer heilei die Schmerzen" (the point at which Reichardt had begun his setting), and this is music tense in its cross-rhythms and throbbing syncopations, its unflinching harmonic collisions, and in the bold leaps of the vocal line. Then comes the prayer. A plain 4/4 meter soothes the tense ambiguities of the earlier 3/2 and 6/4,* the melodic contours are softer, and the harmony settles into a beatific C major. It is here that the chorus of men joins the singer. Plucked strings suggest the psaltery of the Father of Love, and though the last two words are "sein Hen," the music unmistakably says "Amen!"

— from notes by Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. The complete version of this note on the Brahms Alio Rhapsody appeared originally in the program book of the San Francisco Symphony copyright ®1983 and appears here in somewhat abbreviated form by kind permission of Mr. Steinberg and that orchestra.

"The music is all written in 3/2, that is, with the six beats of each measure articulated as three groups of two, but Brahms constantly creates rhythmic dissonance by setting against this a division of the six beats into two groups of three.

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28 1 Alto Rhapsody

(Alto)

Aber abseits, wer ist's? Who is that, wandering alone? Ins Gebiisch verliert sich sein Pfad He loses his way in the brush. hinter ihm schlagen Behind him the branches die Strauche zusammen, Close together again. das Gras steht wieder auf. The grass springs back again. I die Ode verschlingt ihn. Emptiness swallows him.

'n r.i Ach, wer heilet die Schmerzen Ah, who can heal the pain des, dem Balsam zu Gift ward? Of one who finds poison in balsam? Der sich Menschenhass He has drunk the hate of mankind aus der Fiille der Liebe trank! From the cup of love! Erst verachtet, nun ein Verachter First scorned, now scorning. er Heimlich auf secretly i zehrt He wastes seinen eignen Wert His own merit in ungeniigender Selbstsucht. In useless searching for himself.

(Alto an d Male Chorus)

1st auf deinem Psalter, If there is in your Psalter, Vater der Liebe, ein Ton Father of Love, a melody seinem Ohre vernehmlich. That can reach his ear. so erquicke sein Herz! Revive his heart! Offne den umwolkten Blick Turn your unclouded light iiber die tausend Quellen Down on the thousand fountains neben dem Durstenden Beside the thirsting soul in der Wiiste. In the wasteland.

— Goethe

English translation ® Capitol Records 1962.

1

1 29 Week IV Anton Bruckner Symphony No. 4 in E-flat, Romantic

Joseph Anton Bruckner was born in Ansfelden, Upper Austria, on 4 September 1824 and died in Vienna on 11 October 1896. He began composing his Fourth Symphony late

in 1873, completing a preliminary version in November the following year. He

undertook a thorough revision in 1878, bringing it to completion on 5 June 1880. The

revision involved a substantial reworking of the first and second movements, rewriting of the fourth, and, finally, substitution of a completely different third movement, the

"Hunting Scherzo" that is now in the score. Later changes, including some made for the

unfortunate first edition of 1891, are of dubious authenticity; the 1878-80 version, edited by Robert Haas, is best taken as the authentic one and will be performed here. The first performance took place in Vienna on 20 February 1881, Hans Richter conducting.

Anton Seidl introduced the work to the United States in a concert at New York's

Chickering Hall on 16 March 1888. The score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones and tuba, timpani, and strings.

Picture, if you will, Anton Bruckner at his arrival in Vienna in 1868. He was forty-five years old and had come to take up the professorship in harmony and counterpoint at the Vienna Conservatory. This position of considerable prestige in the elegant and fashionable capital of the Austro- Hungarian Empire had been bestowed on a composer of extraordinarily refined technique (when Bruckner had been tested in 1861 for a diploma from the Conservatory, one of his judges had exclaimed, "He should have examined us! If I knew one tenth of what he knows, I'd be happy.")- He had begun to make a name for himself as a composer of Masses, having already written his three major works in that medium, and he had composed his Symphony No. 1 (two earlier symphonic essays remained outside the official canon), though it was not yet known in the capital. But for all his growing reputation as a composer and the support that he had received in the reviews of the influential critic Eduard Hanslick, Bruckner must have been a strange apparition. A child of the country, born and raised in rural Upper Austria, he continued to dress in the simplest costume characteristic of his peasant background — baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat of notably unstylish cut, and comfortable white shirt with an unfashionably broad collar. Short and stocky, a valiant trencherman, bearing in his profile a sharp physiognomy, he could easily be taken for a peasant farmer. More important in its effect on his well-being and acceptance in Vienna was his characteristically simple nature — pious, trusting, deferential, and naive. He came, a true innocent, and found himself in that musico-political snakepit that was Vienna. Utterly unable to be anything other than himself, Bruckner quite simply failed to understand the intricate pattern of backbiting, of personal grudges and attacks, of quid pro quo that made up the Viennese musical scene. He made one devastating political mistake and — characteristically —

kept on repeating it, quite ignorant of its consequences to himself: he

30 expressed and constantly reaffirnied a strong admiration for Wagner. After arriving in Vienna Bruckner devoted almost his entire creative energy to the composition of symphonies. The years 1871 to 1876 saw the pouring out of symphonies 2, 3, 4, and 5. The Vienna Philharmonic (then as now an ensemble of conservative, if not to say reactionary, taste) refused to play the First on account of its "wildness and daring," then the Second, claiming that it was "nonsense." Yet when a patron was found to finance a performance of the Second, it received a standing ovation from the audience. But it was the next symphony that really set the cap on Bruckner's problems in Vienna. In sincere admiration of the musical accomplishments of Wagner, Bruckner showed him the manuscript of the Third Symphony, in D minor, and even dedicated the score to him. He was delighted that Wagner accepted the dedication, and he ever after naively referred to the symphony in all his letters as "my Wagner Symphony," apparently quite oblivious to the fact that he had thereby totally lost the good will of the critic Hanslick, who from that time on lost no opportunity to attack Bruckner and his works, even conveniently forgetting the favorable things he had said in the past. The Wagner party in Vienna was delighted to find a composer of symphonies in their camp, and they promptly hailed Bruckner as a master they could use to browbeat the Brahmsians. But the entrenched powers were all in the Brahms camp, and though Brahms himself seems to have respected Bruckner's work, the Brahmsians were relentless.

Anton Bruckner at age sixty

31 Week IV —

Thus, after a devastating performance in 1877 of the Third Symphony, which Bruckner himself had to conduct, at which he heard catcalls and jeers during the performance and saw the hall emptied of its audience before the end, leaving only some twenty-five young musicians (among them Mahler) to applaud the work, Bruckner began to revive his previously composed symphonies in an attempt to make them somehow more accessible. The Fourth underwent this process of rewriting without ever having been heard in public. But unlike most of his other symphonies, the revision of 1878-80 that produced the first definitive version was also the last time that Bruckner seriously attacked the score,

so that the inevitable problem of choosing an "authentic" version is, for No. 4 at least, a relatively simple one.* The first performance of the Fourth, which took place in Vienna in

1881, was a considerable success, though it did not immediately overwhelm opposition to Bruckner. His symphonies are so individual and personal a treatment of the symphonic form inherited from his Viennese predecessors Haydn, Mozart, Beethoven, and Schubert that we still tend to misunderstand them. Until quite recently Bruckner's name was always linked in the same breath with Mahler's, as if Bruckner-and-Mahler were no less inseparable than Gilbert-and-Sullivan. But though Bruckner and Mahler each wrote lengthy and demanding symphonies that were rarely performed, in other respects their music looked in opposite directions. Mahler's symphonies involved (as he himself said) the creation of entire worlds, with all of the diversity that entails; they were, moreover, filled with existential doubt and anguish, and no matter how assertively positive the endings might be (in some cases!), the search and the doubt always remains at the core. Bruckner could hardly have been more different. Though he was in many respects insecure as an individual,

when it came to composing symphonies, his music reflects throughout the absolute conviction of his faith, and each symphony seems from the beginning to be aiming for a predestined conclusion of grandeur and almost heavenly glory. If Mahler's symphonies are in some sense acts of self-psychoanalysis, Bruckner's symphonies are liturgical acts. Or, to use a very different comparison: Haydn, another composer who came from the peasantry in the Austrian countryside, wrote Mass settings that were profoundly symphonic in character; Bruckner wrote symphonies that were deeply liturgical. It is not only that he often quoted themes from his Masses in his symphonies, but rather the nature of the musical rhythm, the grand, measured progress from certainty to certainty, leading in confident assertion to the final glory, that gives his symphonies their special character. (And perhaps this is why today, in an age of endless questioning of values, Mahler's symphonies seem to strike a more

*Bruckner did, to be sure, make some changes in 1886 for Anton Seidl's performances, but they were limited to minor adjustments of the orchestration and, in any case, he made a new fair copy of the original 1880 version as late as 1890, so that must be considered his final word on the subject. At about the same time Bruckner's devoted but misguided acolytes Franz Schalk and Ferdinand Lowe

prepared a heavily cut version reorchestrated in the style of Wagner; it was this

version that was published in 1890, but Bruckner himself refused to authorize it,

and it has justly been repudiated.

32 generally responsive chord than Bruckner's.)

The Fourth is the only symphony to which Bruckner gave any kind of official nickname or programmatic guide. But the epithet "Romantic" hardly reveals anything that is not immediately apparent in the music itself. The romanticism that is in question here is that "forest romanticism" so characteristic of early nineteenth-century German literature — a love of pure unspoiled nature as depicted in the freshness of forest, field, and mountain, possibly a touch of antiquarianism in a passion for the simpler life of long ago, a celebration of the hunt and the joys of rural life. All of this can be found in the music, and would be found there whether Bruckner had assigned the nickname or not. The first movement opens with a hushed rustle of string tremolos barely breaking the stillness. A solo horn call sounds the notes B-flat- E-flat-B-flat, then repeats the phrase, stretching the first note up an evocative half-step to C-flat, a note that will play an important role, both melodic and harmonic, throughout the symphony. The fanfare figure moves to the woodwinds over the continuing string tremolo to lead gradually to the first full orchestral tutti and a new thematic idea built of one of Bruckner's favorite rhythmic gestures: two quarter-notes followed

^-^ .^ -^ "c^/u^^ *^^t^C^.'m y

•> T ' »• k S C 8

Bruckner's manuscript for the opening of the scherzo

33 Week IV by three triplet quarters. This material provides the preparation for the dominant key of B-flat, though at the last moment Bruckner shifts to

D-flat for the contrasting theme; its most noticeable element at first is the folk dance figure in the first violins, but gradually an interior line first heard in the violas takes on greater significance. A spacious tutti brings us around to the B-flat we were denied earlier for a shortened statement of the folk dance figure and the conclusion of the exposition. The development moves in grand, stately sequential steps through the harmonic universe culminating in a hushed string passage that treats the interior viola line of the secondary theme in an expressive expansion before moving — so quietly! — to the recapitulation with a new flute countermelody to the string tremolos and horn calls. The slow movement has the character of a subdued, muted funeral march in C minor, first heard in the cellos against muted strings. At its restatement in the woodwinds an accompaniment of plucked cellos and basses sets up the sound of steady marching that remains in the ear even during a mysterious chorale followed in its turn by sustained cantabile melody in the violas that ends finally in C major. These various materials are developed richly in extended keys exploiting the brass and woodwinds (who have barely been heard to this point). An abbreviated restatement of the opening leads to a lengthy coda with wide-ranging expansion of the funeral march. The scherzo was the last movement to be composed when Bruckner wrote it to replace an earlier, discarded version. He himself described this as music for the hunt (with the Trio providing the musical entertainment at the hunt banquet). Again the musical gestures make this identification self-evident. The scherzo itself is a brilliant achievement, compounded of varying treatments of the composer's favorite rhythm, one beat divided into two even eighth-notes followed by another divided into triplets. Nothing could be simpler and more homey than the Landler of the Trio, though its second half has. a chromatic turn that would certainly not be found in peasant dances. The scherzo is repeated literally. The finale begins in B-flat minor with a melodic figure in the clarinets and first horn (G-flat to F) that will recall the C-flat-to-B-flat heard at the very opening of the symphony; it is, in fact, an echo of that figure at the higher fifth. A lengthy crescendo leads to the main theme of the finale, a forceful unison statement in E-flat (with an important role for the polar alternative of C-flat). The finale itself is an extremely com- plicated movement filled with a number of diverse ideas (some of which seem too trival for the role they are called upon to play), but at the end, Bruckner pulls himself together in a grand, organ-like coda that sets the universe ringing in E-flat with a hint of the opening fanfare now blared by the entire mass of brass instruments, while the single note of C-flat (which represented the first pitch outside of the tonic chord back at the beginning) continues to assert its presence in the strings until the last possible moment.

— Steven Ledbetter

34 ARTISTS

Walton, and Benjamin Britten, and Benjamin Luxon he was invited by Britten to perform the title role in that composer's television opera Owen Wingrave, broadcast throughout Great Britain, most of Western Europe, and the United States in 1971. His recordings include an acclaimed collection of English ballads, "Give Me a Ticket to Heaven," as well as performances of Haydn's opera Orlando Paladino,

William Walton's Belshazzar's Feast, and the Beethoven Ninth Symphony with Bernard Haitink and the London Philharmonic. Mr. Luxon, who made his Metropolitan Opera debut in Tchaikovsky's Eugene Onegin in January 1980, first appeared with the Boston Symphony in the spring Born in Cornwall, England, the of 1976 and has returned for per- versatile British baritone Benjamin formances of Eugene Onegin, the Luxon studied at the Guildhall Brahms German Requiem, the Faure School of Music and won the Requiem, the Dvorak Stabat Mater, school's Gold Medal. A prizewinner Mahler's Eighth Symphony, and in the 1961 Munich International Jesus in Bach's St. John Passion, all Competition and later engaged to under the direction of Seiji Ozawa. broadcast Lieder recitals over leading

German radio stations, he is now one of the few British singers to Andre Previn have achieved success in Germany as a Lieder singer. Internationally in demand for operatic and orchestral as well as Lieder performances,

Mr. Luxon is also known for recordings, television, and radio broadcasts. He is a regular guest at the Royal Opera House, Covent Garden, the Glyndebourne, Edinburgh, and Aldeburgh festivals, in Munich, Vienna, and throughout the United States, and he has performed under such eminent conductors as Sir Colin Davis, Bernard Haitink, Zubin Mehta, Eugene Ormandy, Seiji Ozawa, and Sir Georg Solti.

Mr. Luxon is noted for his Music director of the Pittsburgh recordings of works by the British Symphony since 1976, Andre Previn composers Vaughan Williams, Delius, is known worldwide as one of

35 today's finest conductors and also for which Mr. Previn has earned two for his achievements as pianist, Emmy nominations. In May and June composer, and television personality. of 1978, Mr. Previn led the Mr. Previn studied classical music as Pittsburgh Symphony on a five- a child in his native city of Berlin, country European tour, and he and later, in California, where the returned with them in 1982 for a Previn family moved in the early six-country, twelve-city tour which 1940s, he studied composition with included stops in Paris, Berlin, Joseph Achron and Mario Castelnuovo- Vienna, and London. Mr. Previn's Tedesco and conducting with Pierre recordings number neafrly 100 major Monteux. Since 1960, Mr. Previn works and albums currently available, has been sought as a guest including an extensive catalogue conductor by the world's major with the London Symphony for orchestras, including those of New Angel records. In 1977 Angel began York, Boston, Chicago, Philadelphia, recording Mr. Previn with the Los Angeles, Amsterdam, Vienna, Pittsburgh Symphony; he and the Berlin, Paris, Prague, and Copenhagen. Pittsburgh also record for Phono- From 1967 to 1969 he was music gram International for release on the director of the Houston Symphony Philips label. Mr. Previn has a long- Orchestra, succeeding John Barbirolli, term contract with BBC Television and in 1968 he was appointed and won the British Critics Award principal conductor of the London for TV Music Programs in 1972 and Symphony Orchestra, a post he 1976. Mr. Previn has been a guest retained until 1979, when he was conductor with the Boston Symphony named conductor emeritus. In Orchestra at Tanglewood in 1977 September 1971 he made his debut and for the past three summers; he at the Edinburgh Festival, to which made his first Symphony Hall he has returned many times. He also appearances with the orchestra conducts regularly at the Salzburg leading two programs in October/ Festival. From 1972 to 1974 Mr. Previn November 1982. was artistic director of the South Mr. Previn is also a composer Bank Music Festival in London, and whose music includes a cello concerto. in 1977 he was artistic director for the Queen's Jubilee Festival. In 1984, while still retaining the music directorship of the Pittsburgh Sym- phony, he will become music director Easy Picnics with of the Royal Philharmonic Orchestra Picnic Pack in London. Lightweight Oxtord Picnic cloth Mr. Previn assumed the post of folds to tote! Roomy pockets hold beverages, food and Pittsburgh music director Symphony supplies. 38" square in August 1976, succeeding William Velcro closures • Washable

Steinberg. His impact was felt Order yours now to enjoy all summer immediately with the expansion of Red, blue, green, wine. the symphony's subscription concert $2495 schedule, reinstatement of the Picnic Pack PO Box 14614 orchestra into the recording business, Dept T and additional exposure via the PBS Hartford, CT 06114 series "Previn and the Pittsburgh,"

36 a guitar concerto, a song cycle for ductor John Oliver, the Tanglewood Dame Janet Baker, two suites of Festival Chorus is regarded by preludes commissioned and per- conductors, press, and public as one formed by pianist Vladimir Ashkenazy, of the great orchestra choruses of and a music drama. Every Good Boy the world. The members of the Deserves Favour, on which he col- chorus donate their services, and laborated with playwright Tom they perform regularly with the Stoppard and which was presented in Boston Symphony Orchestra in a command performance for Queen Boston, New York, and at Tangle-

Ehzabeth II during the 1977 Silver wood, working with Music Director Jubilee celebrations. His recent com- Seiji Ozawa, Principal Guest Con- positions include orchestral works ductor Sir Colin Davis, John Williams commissioned by the Philadelphia and the Boston Pops, and such Orchestra, the Vienna Philharmonic, prominent guests as Leonard Bern- and the Pittsburgh Symphony. stein, Claudio Abbado, Klaus Tennstedt, Mstislav Rostropovich, Andre Previn, Eugene Ormandy, and Gunther Schuller. Tanglewood Festival Chorus Unlike most other orchestra John Oliver, conductor choruses, the Tanglewood Festival Chorus under John Oliver also includes regular performances of

a cappella repertory in its schedule, requiring a very different sort of discipline from performance with orchestra, and ranging in musical content from Baroque to con- temporary. In the spring of 1977, John Oliver and the chorus were extended an unprecedented invitation by Deutsche Grammophon to record a program of a cappella twentieth- century American choral music; this record received a Grammy nomination for best choral performance in 1979. In addition, Mr. Oliver and the Co-sponsored by the Berkshire chorus have recently completed a Music Center and Boston University, record for Nonesuch, featuring the Tanglewood Festival Chorus was music of Dallapiccola and Weill, and organized in the spring of 1970 scheduled for release in 1983. when John Oliver became director of The Tanglewood Festival Chorus vocal and choral activities at the has collaborated with the Boston Berkshire Music Center. Originally Symphony Orchestra on numerous formed for performances at the recordings for Deutsche Gram- Boston Symphony Orchestra's mophon, New World, and Philips. summer home, the chorus was soon For the chorus' first appearance on playing a major role in the records, in Berlioz's Damnation of orchestra's Symphony Hall season as Faust, John Oliver and Seiji Ozawa well. Under the direction of con- received a Grammy nomination for

37 best choral performance of 1975. also recorded with John Williams and The Tanglewood Festival Chorus the Boston Pops. may be heard on the Philips releases In addition to his work with the of Schoenberg's Gurrelieder, taped live Tanglewood Festival Chorus, John during Boston Symphony perfor- Oliver is conductor of the MIT mances and named best choral re- Choral Society, a senior lecturer in cording of 1979 by Gramophone music at MIT, and conductor of the magazine, and Mahler's Symphony John Oliver Chorale, now in its sixth

No. 8, the Symphony of a Thousand. season, and with which he has Other recordings with the orchestra recorded Donald Martino's Seven Pious include music of Ravel, Liszt, and Pieces for New World records. Roger Sessions, and the chorus has

Tanglewood Festival Chorus John Oliver, conductor

Sopranos Lisa Saunier Nancy P. Stevenson Helen T. Taylor Elizabeth Adams Joan Pernice Sherman Smith Judith Tierney Jody Bailey Kim W. Carole Lorraine Walsh Virginia K. Bowles J. Stevenson Christine F.W. Brigandi Martha E. Sullivan JoAnne Warburton Nancy H. Chittim Pamela Wolfe Natasha M. Wei Bonita Ciambotti Dorothy J. Vanish Mary Robin Collins Margo Connor Mezzo-sopranos Tenors Joy Curtis Elizabeth Baldwin Lou Ann David Maisy Bennett Darryl Alan Abbey Helen M. Eberle Rebecca Chamberlain E. Lawrence Baker Susan Rose Edelman Barbara Clemens John C. Barr Monica Ernesti Arnalee Cohen Ralph A. Bassett

Rebecca Shellman Flewelling Barbara A. Cooper Paul Adam Blanchard II Lisa Heisterkamp Ethel Crawford Donato Bracco

Lois Himml Mary A.V. Crimmins William A. Bridges, Jr. Alice Honner-White Catherine Diamond Victor Calcaterra Gailanne Cummings Hubbard Patricia V. Dunn Paul Clark Paula Jacobson Kitty DuVernois Dana Robert Dicken Christine M. Jaronski Mary F. Ellis Reginald A. Didham Jeanne Jones Evelyn M. Eshleman William E. Good

Frances V. Kadinoff Paula Folkman J. Stephen Groff Anne M. Keaney Dorrie Freedman Dean Armstrong Hanson Carol Kirtz Dorrie Fuchs George Harper Eve Kornhauser Irene Gilbride James P. Hepp Deborah LeBlanc Donna M. Gonzalez-Velasco John W. Hickman Rowena Done Meier Thelma Hayes Fred G. Hoffman Patricia Mitchell Donna Hewitt Richard P. Howell Maureen T.M. Monroe Leah Jansizian Stanley Hudson Betsy Moyer Suzanne D. Link John C. Karris

Grace J. Napier Dorothy W. Love Edward J. Kiradjieff Diana Noyes Katherine McGuire Douglas E. Lee Fumiko Ohara April Merriam F. Brian McConville Nancy Lee Patton Ann L. Pinto David E. Meharry Lisa Ann Pickett Deborah Ann Ryba Edmund Mroz Jennifer M. Pigg Christina St. Clair Edward P. Quigley Julia Poirier M.K. Kamala SOparkar David A. Redgrave

Charlotte C.R. Priest Julie Steinhilber Thomas J. Riordan

38 Paul R. Ruest Neil Clark Jules Rosenberg Robert Ruplenas James W. Courtemanche Vladimir Roudenko Herman P. Schultz Douglas A. Dittman Kenneth Sallenger Terence Stephenson Jan M. Dovenitz Sebastian Salvo, Jr. Don Patrick Sturdy John Knowles Robert Schaffel Mark Wilson G. Paul Kowal Robert W. Schlundt Richard H. Witter Kenneth L. Lawley Frank R. Sherman

Robert E. Yorke Lee B. Leach Gregory J. Slowik Steven Ledbetter Peter S. Strickland

David K. Lones Peter J. Wender Basses Sandy Macfarlane Pieter Conrad White Peter T. Anderson Henry Magno Howard Wilcox

David J. Ashton David B. McCarthy Richard Bentley Robert S. McLellan W. Douglas Bond Rene A. Miville David H. Bowles Francisco Noya Daniel E. Brooks Stephen H. Owades

Ronald J. Chibaro Martin R. Pierce

Jean M. Scarrou', Manager Susan Almasi, Rehearsal pianist

39 Brook, where her teacher was Susan Almasi Gilbert Kalish. An active performer, she has been a featured soloist in concertos of Bach, Beethoven, Henze, and Stravinsky. In solo recitals, she specializes in the music of Schumann, Chopin, and Brahms. Ms. Almasi has concertized and completed two recordings with BSO principal flutist Doriot Anthony Dwyer, and she has toured in recital with BSO principal cellist Jules Eskin. She performed with the Boston Symphony Youth Concerts Orchestra under Harry Ellis Dickson in February 1982, and she made her debut with the Boston Pops Orchestra and John Williams in June 1982.

Susan Almasi is accompanist for the Tanglewood Festival Chorus and the John Oliver Chorale and assistant James David Christie conductor of the MIT Choral Society. As rehearsal pianist for the Boston Symphony Orchestra, she works regularly with such artists as Seiji Ozawa, Sir Colin Davis, Leontyne Price, and Itzhak Perlman. For two consecutive summers, Ms. Almasi was a Fellow in Vocal Coaching at the Berkshire Music Center, working closely with Phyllis Curtin, whom she has accompanied in recital in Detroit and in Wellesley. Ms. Almasi was subsequently appointed to the vocal coaching faculty of the Berkshire Music Center at Tanglewood for the 1980 season. Ms. Almasi has taught In August 1979, James David courses on vocal literature and the Christie became the first American art of accompaniment at Brandeis to win the International Organ University, her alma mater. She has Competition in Brugge, Belgium; he also been a coach in the Opera was also the first person in the Department of the New England history of the competition to win Conservatory, and she now teaches both the first prize and the prize of and coaches privately. While she was the audience. Mr. Christie received at Brandeis, Ms. Almasi's teacher his bachelor of music degree from was Victor Rosenbaum of the New the Oberlin Conservatory, where he England Conservatory. She took her studied organ with David Boe and master's degree in piano at the State harpsichord with Doris Ornstein. University of New York at Stony After his junior year there, he

40 studied under a private grant with the United States and France. His Marie-Claire Alain in Paris, France, fifth tour of Europe, in 1980, where he also served as organist/ included a recital at the Flanders choirmaster for the British Embassy Festival and a recording for Belgian Church. Mr. Christie received his radio and television. In June 1980, master's degree and artist's diploma Mr. Christie received an honorary from the New England Conservatory doctorate in fine arts from the New of Music, and he has concertized England School of Law, Boston, in throughout the United States, recognition of his outstanding con- Canada, and Europe. He serves as tribution to the musical life of regular organist for the Boston Boston. Mr. Christie is currently Symphony Orchestra. chairman of the Organ and A frequent guest artist and Harpsichord Department at Boston lecturer at numerous organ seminars Conservatory and artist-in-residence and festivals, Mr. Christie has also at the Massachusetts Institute of served as an organ consultant and is Technology. He has recorded for responsible for several major Philips, Nonesuch, Northeastern, mechanical action installations in Gunmar, and Pro Arte.

41 Bayerischer Rundfunk, Bamberg Klaus Tennstedt Symphony, London Symphony, Orchestre de Paris, the Israel Philharmonic, and the Rotterdam Philharmonic. He was music director of the NDR Symphony in Hamburg until March 1981.

Mr. Tennstedt is a regular guest conductor with the Berlin Phil- harmonic, with which he has begun a major series of recordings for EMI, including the Mendelssohn Italian Symphony, the Third and Fourth Schumann symphonies, and the Bruckner Fourth. For the last several seasons he has been a principal guest conductor of the London Phil- harmonic, and his complete Mahler In the fall of 1983, Klaus Tennstedt symphony cycle with that orchestra becomes music director and principal for EMI already includes Nos. 1, 2, 3, conductor of the London Phil- 4, 5, 7, and 9, and the Adagio from harmonic Orchestra, succeeding Sir the Tenth. Several of Mr. Tennstedt's Georg Solti and Bernard Haitink as recordings, including the Third, the head of that prestigious ensemble. Fifth, and Ninth of Mahler's sym- Born in Merseburg, Germany, in phonies, and the coupling of 1926, Mr. Tennstedt studied piano, Mendelssohn's and Schumann's violin, and theory at the Leipzig Fourth symphonies, have received Conservatory. In 1948 he became important international awards. concertmaster at the Municipal Recent recordings with the London Theater in Halle/ Saale, later becoming Philharmonic also include Bruckner's the theater's main conductor. In Symphony No. 8, Strauss's Death and 1958 he became general musical Transfiguration, and Strauss's Four director at the Dresden Opera, and Last Songs with Lucia Popp. in 1962 he became director of the Klaus Tennstedt made his United State Orchestra and Theater in States debut with the Boston Schwerin. During this period, Symphony Orchestra in December Mr. Tennstedt was guest conductor 1974, following his North American with the Leipzig Gewandhaus, the debut with the Toronto Symphony Dresden Philharmonic, the Dresden Orchestra. Since then, he has Staatskapelle, the Berlin Radio Sym- appeared with the New York phony (RIAS), the Brno Philharmonic, Philharmonic, Chicago Symphony, and the Comic Opera of Berlin. In Philadelphia Orchestra, Cleveland 1971 he left East Germany for Orchestra, St. Louis Symphony, Sweden, where he was engaged at Detroit Symphony, Los Angeles the Stora Theatre in Goteburg and Philharmonic, Pittsburgh Symphony, the Swedish Radio in Stockholm, and National Arts Centre Orchestra of became general music director of the Ottawa, and Montreal Symphony. Kiel Opera. Since that time he has He has been principal guest conductor been guest conductor with the major of the Minnesota Orchestra, and he orchestras of Europe, including the makes his Metropolitan Opera debut

42 this December leading performances recital and orchestral engagements of Beethoven's Fidelia. Mr. Tennstedt across the United States and Canada. has made frequent return appearances In June 1981, Ms. Forrester appeared with the Boston Symphony Orchestra, in a special one-week engagement at most recently for music of Stravinsky, Toronto's Royal York Hotel to sold- Beethoven, Mahler, and Brahms in out audiences and critical acclaim. two programs at Tanglewood last Besides her orchestral and recital summer. appearances, Ms. Forrester also devotes time to the operatic stage, Maureen Forrester having appeared recently as Arnalta in Monteverdi's L'incoronazione di Poppea with the San Francisco Opera and as the Countess in Tchaikovsky's

*" Pique Dame with the Houston Opera. A Other recent operatic appearances have included the National Arts Centre Opera in Ottawa and the Washington Opera. Born in Montreal, Ms. Forrester made her debut in Montreal at the Montreal YWCA and was im- mediately engaged to sing in Beethoven's Ninth Symphony with the Montreal Symphony under Otto Klemperer. Soon after, in February 1957, she made her first Carnegie Contralto Maureen Forrester has Hall appearance singing the contralto been heard by audiences on five solo in Mahler's Resurrection Sym- continents and as distinguished phony under Bruno Walter. She has soloist with virtually every major since become a favorite with many orchestra in the world. Her recent of the world's best-known con- appearances have included the New ductors, including Eugene Ormandy, York Philharmonic, the Cleveland Herbert von Karajan, Leonard Orchestra at the Blossom Festival Bernstein, Seiji Ozawa, Zubin Mehta, and in Carnegie Hall, the Berlin and James Levine among others. Philharmonic, the Boston Symphony, Since her first Boston Symphony the Jerusalem Symphony, the appearance in December 1958, National Symphony of Washington, Ms. Forrester has sung music of D.C., and other major orchestras Beethoven, Mahler, Brahms, and here and abroad. Recognized as one Verdi with the orchestra. Her many of the great Mahler interpreters, recordings appear on the RCA, Ms. Forrester has recently sung Columbia, Vanguard, London, and music by that composer with the Westminster labels. She appeared orchestras of Cleveland, Boston, with the Boston Symphony Orchestra New York, and Toronto. Her 1981- most recently on the opening 82 season included a United States concert of last summer's Berkshire

tour singing Berlioz's Nuits d'ete with Festival in a performance of the Montreal Symphony and return Beethoven's Ninth Symphony taped visits to the Israel Philharmonic and for Japanese television under the the Atlanta Symphony, as well as direction of Seiji Ozawa.

43 >. f

Photo: Gene Cook Boston University ..V- - » School of Music

Phyllis Curtin, Dean, School for the Arts Professor of Voice, School of Music I One hundred and eleven years after we established the first professional music program within an American university, the Boston University School of Music is still among the select few universities with outstanding perfor- mance departments in conjunction with full liberal arts programs.

Our faculty boasts more than thirty present and former mem- bers of the Boston Symphony Orchestra, including Doriot Anthony Dwyer, Ralph Gomberg, Joseph Silverstein, and Roger Voisin. Composers David Del Tredici and Theodore Antoniou, as well as eminent string teachers and performers Rafael Druian, Raphael Hillyer, and George Neikrug, and pianist Anthony di Bonaventura, keep the School of Music in the forefront of musical training.

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44 ...' < *•!

BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Saturday, 30 July at 8:30

KLAUS TENNSTEDT conducting

BRAHMS Ein deutsch.es Requiem (A German Requiem), Opus 45, on words from Holy Scripture Selig sind, die da Leid tragen (Blessed are they that mourn) Denn alles Fleisch es ist wie Gras

(For all flesh is as grass) Herr, lehre doch mich (Lord, make me to know) Wie lieblich sind deine Wohnungen (How amiable are thy tabernacles) Ihr habt nun Traurigkeit (Ye now have sorrow) Denn wir haben hie keine bleibende Statt (For here we have no continuing city) Selig sind die Toten (Blessed are the dead)

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ESTHER HINDS, soprano BENJAMIN LUXON, baritone

There will be no intermission.

Please do not take pictures during the concert. Flashbulbs, in particular, distract the musicians and other members of the audience.

Please be sure the electronic signal on your watch or pager is switched off during the concert. Philips, Telarc, CBS, Deutsche Grammophon, Hyperion, and RCA records Baldwin piano

45 Week IV 46 fy^^m

NOTES

Johannes Brahms Ein deutsches Requiem (A German Requiem), Opus 45, on words from Holy Scripture

Johannes Brahms was born in Hamburg, Germany, on 7 May 183 3 and died in

Vienna, Austria, on 3 April 1897. The history of the German Requiem begins about 1854 with music that turned, after much travail and several transformations, into the D minor piano concerto, one of whose rejected themes became the starting point for the

Requiem's second movement, "Venn alles Fleisch es ist wie Gras." Except for the fifth movement, the German Requiem was completed in August 1866. On 1 December

1867, Johannes Herbeck conducted the first three movements in Vienna. The first performance of all six existing movements was given in the Bremen Cathedral on Good Friday 1868, the composer conducting, and with the great Julius Stockhausen as baritone soloist. Brahms added what is now the fifth movement, "Ihr habt nun Traurigkeit," in

May of that year, and the work was given in the version in which we now know it on

18 February 1869 under Carl Reinecke in Leipzig. Leopold Damrosch conducted the first

American performance with the Oratorio Society in New York on 15 March 1877. The

German Requiem is scored for four-part chorus with baritone and soprano solos, two flutes plus piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, harp (only one part, but preferably doubled), timpani, organ, and strings.

About the time Brahms began concentrated work on his "German Requiem on Words from Holy Scripture/' far away, in America, a poet was writing an exalted meditation on death. He had visited battlefields and had seen "the debris and debris of all the slain soldiers of the war." He saw — and it surprised him and moved him — that

They themselves were fully at rest, they suffered not. The living remain'd and suffer'd, the mother suffered. And the wife and the child and the musing comrade suffer'd. And the armies that remain'd suffer'd.

Had Brahms read those lines — he did not because he could not read poetry in English and Hans Reisiger's beautiful translation of Walt Whitman came out only in 1922 — he would have surely done so with emotion and sympathy, for the pity and the understanding in them is nourished by the source that fed his own Requiem. Drawing on all parts of the Bible, Brahms himself put the text together. The title gave him some unease: "German" refers simply to the language, but he told Karl Rheinthaler, Director of Music at the Bremen Cathedral,

that he would gladly have dispensed with that word and called it "A Human Requiem." The words that begin a Mass for the Dead in the Catholic liturgy are

"Requiem aeternam dona eis, Domine" ("Grant them eternal rest, O Lord"), and that is a concern far from Brahms's mind. The dead are mentioned for the first time in the penultimate section, and then in the phrase, "the dead shall be raised incorruptible, and we shall be changed." And when the last

47 Week IV movement begins with the words from Revelations, "Blessed are the dead which die in the Lord from henceforth/' we hear, not anxious or ardent prayer, but the voice of assured faith. No, Brahms addresses us, the living, who remain to mourn and suffer. The verse from Revelations which ends the German Requiem closes the circle that begins with the Beatitude, "Blessed are they that mourn, for they shall be comforted." The deaths of two beloved persons may have played their part in calling the German Requiem into being, Robert Schumann's in July 1856 and that of Brahms's mother in February 1865. But Brahms was reticent about such things, and we cannot be sure. We do, however, know that two months after his mother's death, an event that oppressed him painfully, he had finished the first, second, and fourth movements, and only an exceptionally heavy concert schedule kept him from completing the score as swiftly as he had begun it.

The first movement is sombre in color. Brahms was always a chaste and sparing orchestrator whose treatment, for example, of trombones and contrabassoon in the four symphonies is a miracle of economy and effectiveness. In the German Requiem, he uses his full orchestral complement only in the second movement. In the dark first movement, he dispenses with piccolo, clarinets, one pair of horns, the trumpets and tuba, timpani, and violins. The use of the harp — such an atypical sound for

Brahms — is wonderful: the first discreet entrance at "Die mit Trdnen sden,"* the bright accompaniment to the promise of reaping in joy, and finally the glorious upsurge of the F major chord as the sopranos reach their high A just before the end.

'Brahms explained that he deliberately masked the first entrance of this dangerously

ostentatious instrument so that it should not "for God's sake go make an effect."

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48 The cellos' first phrase alludes to a seventeenth-century Lutheran hymn, "]Ner nur den lieben Gott Idsst walten" ("They who leave everything to God"), a detail about which Brahms said later, "Oh well, if nobody notices I suppose that's all right, too." The first choral entry, "Selig sind," spells out the melody F-A-B-flat, a small leap followed by a step in the same direction. Brahms isolates and dramatizes this shape because he will use it to bind the entire work together. The poignant "mit Tranen" ("in tears") brings the same pattern, but in reverse order. The second movement opens with it also — G-flat-F-D-flat. Now that Brahms introduces the violins, he does so in a very high register — in other words, as violinistically as possible. And the drums are heard for the first time as they beat their ominous triplets across this strange blend of dance and death march. At the passage about "the early and latter rain," the accompaniment is so pictorial that it might be by Bach. Twice the death march rises to its great climax, finally to open out into the great chorus about the joy of "the ransomed in the Lord," a movement astounding in its rhythmic freedom and energy. Not the least of its surprises, though, is the quiet close with its throbbing drums and its garlands of scales. Here Brahms remembered the way Beethoven had ended the Adagio of the Ninth Symphony and the "Credo" in the Missa solemnis. Now the baritone soloist enters to begin a sombre recitative in dialogue

Brahms's own copy of a 1545 edition of

Martin Luther's translation of the Bible

49 Week IV with the chorus, set against orchestral scoring that tastes of Don Giovanni.

Agitation grows over the question, "And now. Lord, what is my hope?" The pulsating triplets in the woodwinds cease — they are yet another daring and loving tribute to the Beethoven Ninth (the passage about him "who lives beyond the stars") — and the answer, "My hope is in thee," rises from the depth in a single sentence of utmost radiance. As the chorus tells us that '^the souls of the righteous are in the hands of God," their fugue is accompanied by another in the orchestra, with the sure faith that "there shall no torment touch them" firmly established in the D pedal of low brasses, strings, drums, and organ, sustained without break through thirty-six spacious measures.

What happens next is in complete contrast to the drama of what came before. The key, E-flat, is infinities away from the preceding D major, and the orchestra is reduced to an almost chamber-musical scale. Near the end, Brahms produces a lovely choral texture by making octave couplings of sopranos with tenors and of altos with basses. Then comes the late insert into the German Requiem, the insert that truly completed it, delicate in sound, and inspired in the way solo soprano and chorus are related as they sing their touching counterpoint of Saint John and Isaiah. In its quiet intimacy, this movement inhabits a world apart from the rest of the work, and even the choice of key marks it as something special. The key-centers in general tend toward the flat side — F, B-flat minor, D minor, E-flat thus far — and G major comes in now with touching sweetness and luminosity.

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50 The sixth movement is the one that most clearly defines the difference between Brahms and his contemporaries. Neither Berlioz nor Verdi makes

a more exciting thing than Brahms of "the last trump/' yet there is not

even a trace of theatrical effect here. Brahms does it on sheer harmonic

energy, an energy that in the hugely swinging sequences of "Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?" reaches overwhelming proportions. But the greatest of the 'M climaxes is yet to come, Brahms reserving that for his triumphant entry into C major for the fugue on "Herr, du bisi wurdig." This is Handelian in its vigor and also in its easy sonorousness, especially the resourceful contrast of polyphonic and chordal writing. Perhaps the most impressive moments are the quietest, those strange modal cadences where Brahms

recalls Schiitz. Four times the music reaches fortissimo, but it is characteristic of the trait in Brahms that Erich Leinsdorf calls :4 "antiemphasis," that both here and in the third movement he ends on a simple forte.* The sixth-movement fugue grows from the work's basic three-note motive, and this immediately begins again in the first notes of the seventh movement — at the original pitch, too, with the F of the basses followed I by the A and B-flat of the cellos. Tovey's inspired interpretation of the meaning of the "surging accompaniment" is that Brahms had in mind the phrase in Revelations that precedes the one he actually set to music. Thus the text of this movement really begins, "I heard a voice from heaven, saying unto me. Write, 'Blessed are the dead which die in the Lord from henceforth.'" Then, as so often in Brahms, the end and the beginning become one, a device he was to use so variously, so subtly, in the G major violin sonata, the Third Symphony, the Clarinet Quintet. Remotely, in the key of E-flat, and to the melody of "Blessed are they that mourn," the chorus sings "Blessed are the dead." Across wide harmonic voyagings the music returns at last to F major. The glorious climax with the sopranos on high A is attained once more on the word "Herrn" ("Lord"), and at that moment the harps, not heard since halfway through the second movement, begin their heavenward climb. They enter on their lowest note as the singers reach their highest, and when the harps, in the last measure, reach their summit, the chorus is heard in the depths with distant echoes of "selig" — "blessed."

— Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979.

Text and translation for the German Requiem begin on the next page.

"The fortissimos occur when the chorus first sings the word "Posaune," in the extended "death, where is thy sting?" passage, and at the top of the two "Jacob's Ladder" ascents to the word "Kraft" in the fugue. Brahms the classicist knows that a climax is one thing and a conclusion another.

51 Week IV (A note on the text and translation: Brahms, perhaps working from memory, sometimes departed in certain details from Martin Luther's words, and we give the text as he set it. Occasionally the German and

English translations of the Bible diverge, and in a few places where it is useful for the understanding of Brahms's music, we depart from the Authorized Version in order to give a closer rendering of the text Brahms had before him.)

Selig sind, die da Leid tragen, Blessed are they that mourn: denn sie sollen getrostet werden. for they shall be comforted.

Matt. 5:4

Die mit Tranen saen, werden mit They that sow in tears shall reap in joy. Freuden ernten. Sie gehen hin und They go forth and weep, bearing weinen und tragen edlen Samen und precious seed, and shall doubtless come kommen mit Freuden und bringen ihre again with rejoicing, bringing their Garben. sheaves with them.

Ps. 126:5-6

Denn alles Fleisch es ist wie Grasundalle For all flesh is as grass, and all Herrlichkeit des Menschen wie des the glory of man as the flowers of Grases Blumen. Das Grass ist verdorret grass. The grass withereth, and ttie und die Blume abgefallen. flower thereof falleth away.

I Pet. 1:24

So seid nun geduldig, liebe Briider, bis Be patient, therefore, brethren, unto the auf die Zukunft des Herrn. Siehe, ein coming of the Lord. Behold, the hus- Ackermann wartet auf die kostliche bandman waiteth for the precious fruit Frucht der Erde und ist geduldig dariiber, of the earth, and hath long patience for bis er empfahe den Morgenregen und it, until he receive the early and latter Abendregen. rain.

Jas. 5:

Denn alles Fleisch es ist wie Gras und alle For all flesh is as grass, and all Herrlichkeit des Menschen wie des the glory of man as the flower of Grases Blumen. Das Gras ist verdorret grass. The grass withereth, and the und die Blume abgefallen. flower thereof falleth away. Aber des Herrn Wort bleibet in But the word of the Lord endureth for Ewigkeit. ever.

I Pet. 1:24-25

Die Erloseten des Herrn werden wieder And the ransomed of the Lord shall kommen und gen Zion kommen mit return, and come to Zion with songs and Jauchzen; ewige Freude wird iiber ihrem everlasting joy upon their heads: they Haupte sein; Freude und Wonne werden shall obtain joy and gladness, and sie ergreifen, und Schmerz und Seufzen sorrow and sighing shall be made to wird weg miissen. flee.

ha. 35:10

52 Herr, lehre doch mich, dass ein Ende mit Lord, make me to know that there must mir haben muss, und mein Leben ein be an end of me, that my life has a term, Ziel hat und ich davon muss. and that I must hence. Siehe, meine Tage sind einer Hand breit Behold, thou hast made my days as an vor dir, und mein Leben ist wie nichts handbreadth; and mine age is as nothing vor dir. Ach, wie gar nichts sind alle before thee: verily, every man at his Menschen, die doch so sicher leben! best state is altogether vanity. Sie gehen daher wie ein Schemen und Surely every man walketh in a vain machen ihnen viel vergebHche Unruhe; shew: surely they are disquieted in sie sammeln, und wissen nicht, wer es vain: he heapeth up riches and knoweth kriegen wird. not who shall gather them. Nun, Herr, wes soil ich mich trosten? And now. Lord, what is my hope? Ich hoffe auf dich. My hope is in thee.

Ps. 39:4-7

Der Gerechten Seelen sind in Gottes The souls of the righteous are in the Hand, und keine Qual riihret sie an. hands of God, and there shall no torment touch them.

Wisd. of Sol. 3:1

Wie lieblich sind deine Wohnungen, How amiable are they tabernacles, O Herr Zebaoth! Lord of hosts! Meine Seele verlanget und sehnet sich My soul longeth, yea, even fainteth for nach den Vorhofen des Herrn; mein the courts of the Lord: my heart and my Leib und Seele freuen sich in dem flesh rejoice in the living God. lebendigen Gott. Wohl denen, die in deinem Hause Blessed are they that dwell in thy house: wohnen; die loben dich immerdar. they will still be praising thee.

Ps. 84:1-2, 4

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OPENING IN MID-JULY NORTHAMPTON

53 Won't you spend a Midsummer Evening with us ? Or two, or three, or four?

July 16 7:30 PM July 23 7:30PM

Bach Verdi Mass in B Minor Aidci (ACT II)

Charles Dodsley Walker And...

July 30 7:30PM Wagner Mozart Meistersinger Solemn Vespers (SCENES) A\ass in CMinor John Mauceri Lorn a Cooke deVaron They are beautiful evenings, filled with great music, the 100-voice Berkshire Festival August 6 7:30 PM Chorus, outstanding soloists and conductors, The Springfield Symphony Orchestra, the green lawns of a 500-acre campus, and the stars. Come. Brahms With family, with friends. Have a picnic. Wine & cheese are available on the grounds. Box seats: AGerman Requiem $12.00; Orchestra: $7.00. For reservations, call (413) 229-6634 after 4 July. Tickets also avail- able at performances. The concert shed is on the Robert Page campus of The Berkshire School in SW Mass., just north of Salisbury, Conn. Entry, parking, departure are all mercifully swift and simple.

Johann,Giuseppe, Richard, W)lfgang,Joharines and the Beifehire Choral Festival

Berks/lire Sc/ioo/ /les on t/ie wesf %\de of Route 4 1 m southwestern Massachusetts, 9.5 miles north of Salisbury, Connecticut, or 3 miles south of the intersection of Routes 23 and 41 near South E^remont, Massachusetts.

54 Ihr habt nun Traurigkeit; aber ich will Ye now have sorrow: but I will see you euch wieder sehen, und euer Herz soil again, and your heart shall rejoice, sich freuen, und eure Freude soil and your joy no man taketh from you. niemand von euch nehmen.

]ohn 16:22

Ich will euch trosten, wie einen seine I will comfort you as one whom his Mutter trostet. mother comforteth.

ha. 66:13

Sehet mich an: ich habe eine kleine Zeit Behold with your eyes: a little while I Miihe und Arbeit gehabt und habe have had tribulation and labour, and grossen Trost funden. have found great comfort.

Ecclus. 51:35

Denn wir haben hie keine bleibende For here we have no continuing city, Statt, sondern die zukiinftige suchen wir. but we seek one to come.

Heb. 13:14

Siehe, ich sage euch ein Geheimnis: Behold I shew you a mystery: Wir werden nicht alle entschlafen, wir We shall not all sleep, but we shall werden aber alle verwandelt werden; all be changed. und dasselbige plotzlich, in einem In a moment, in the twinkling of an eye, Augenblick, zur Zeit der letzten Posaune. at the last trump: for the trumpet Denn es wird die Posaune schallen, und shall sound, and the dead shall be die Toten werden auferstehen unver- raised incorruptible, and we shall weslich, und wir werden verwandelt be changed. werden. Dann wird erfiillet werden das Wort, Then shall be brought to pass, the dass geschrieben steht: saying that is written: "Der Tod ist verschlungen in den Sieg. Death is swallowed up in victory. Tod, who ist dein Stachel? O death, where is thy sting? HoUe, wo ist dein Sieg?" O grave, where is thy victory?

I Cor. 15:51-52, 54-55

Herr, du bist wiirdig, zu nehmen Preis Thou art worthy, O Lord, to receive und Ehre und Kraft, denn du hast alle glory and honour and power: for thou Dinge geschaffen, und durch deinen hast created all things, and for thy Willen haben sie das Wesen und sind pleasure they are and were created. geschaffen.

Rev. 4:11

Selig sind die Toten, die in dem Herrn Blessed are the dead which die in the sterben, von nun an. Ja, der Geist spricht, Lord from henceforth: Yea, saith the dass sie ruhen von ihrer Arbeit; denn Spirit, that they may rest from their ihre Werke folgen ihnen nach. labours; and their works do follow them.

Rev. 14:13

55 Week IV ARTISTS

been guest conductor with the major Klaus Tennstedt orchestras of Europe, including the Bayerischer Rundfunk, Bamberg Symphony, London Symphony, Orchestre de Paris, the Israel Philharmonic, and the Rotterdam Philharmonic. He was music director of the NDR Symphony in Hamburg until March 1981.

Mr. Tennstedt is a regular guest conductor with the Berlin Phil- harmonic, with which he has begun a major series of recordings for EMI, including the Mendelssohn Italian Symphony, the Third and Fourth Schumann symphonies, and the Bruckner Fourth. For the last several seasons he has been a principal guest conductor of the London Phil- In the fall of 1983, Klaus Tennstedt harmonic, and his complete Mahler becomes music director and principal symphony cycle with that orchestra conductor of the London Phil- for EMI already includes Nos. 1, 2, 3, harmonic Orchestra, succeeding Sir 4, 5, 7, and 9, and the Adagio from Georg Solti and Bernard Haitink as the Tenth. Several of Mr. Tennstedt's the head of that prestigious ensemble. recordings, including the Third, Born in Merseburg, Germany, in Fifth, and Ninth of Mahler's sym- 1926, Mr. Tennstedt studied piano, phonies, and the coupling of violin, and theory at the Leipzig Mendelssohn's and Schumann's Conservatory. In 1948 he became Fourth symphonies, have received concertmaster at the Municipal important international awards. Theater in Halle/Saale, later becoming Recent recordings with the London the theater's main conductor. In Philharmonic also include Bruckner's

1958 he became general musical Symphony No. 8, Strauss's Death and director at the Dresden Opera, and Transfiguration, and Strauss's Four in 1962 he became director of the Last Songs with Lucia Popp. State Orchestra and Theater in Klaus Tennstedt made his United Schwerin. During this period, States debut with the Boston Mr. Tennstedt was guest conductor Symphony Orchestra in December with the Leipzig Gewandhaus, the 1974, following his North American Dresden Philharmonic, the Dresden debut with the Toronto Symphony Staatskapelle, the Berlin Radio Sym- Orchestra. Since then he has phony (RIAS), the Brno Philharmonic, appeared with the New York and the Comic Opera of Berlin. In Philharmonic, Chicago Symphony, 1971 he left East Germany for Philadelphia Orchestra, Cleveland Sweden, where he was engaged at Orchestra, St. Louis Symphony, the Stora Theatre in Goteburg and Detroit Symphony, Los Angeles the Swedish Radio in Stockholm, and Philharmonic, Pittsburgh Symphony, became general music director of the National Arts Centre Orchestra of Kiel Opera. Since that time he has Ottawa, and Montreal Symphony.

56 He has been principal guest conductor Puccini's Suor Angelica with the of the Minnesota Orchestra, and he Virginia Opera. Ms. Hinds made her makes his Metropolitan Opera debut Berlin Philharmonic debut in Mahler's this December leading performances Eighth Symphony under Klaus of Beethoven's Fidelia. Mr. Tennstedt Tennstedt during the 1982-83 season. has made frequent return appearances She performed in Samuel Barber's with the Boston Symphony Orchestra, Antony and Cleopatra at the Spoleto most recently for music of Stravinsky, Festival USA and at the Spoleto Beethoven, Mahler, and Brahms in Festival in Italy, appeared with the two programs at Tanglewood last Seattle Symphony and the Tulsa summer. Philharmonic, and sang Porgy and Bess with the Baltimore Opera. Recent engagements have also included Mahler's Eighth Symphony with Edo Esther Hinds de Waart and the San Francisco Symphony, Mendelssohn's Elijah with Robert Shaw and the St. Louis Symphony, and Mahler's Das klagende Lied with the Buffalo Philharmonic under Julius Rudel in Buffalo, New York, and at the Kennedy Center. She was also heard in concert in Baltimore and Mexico City. Ms. Hinds has appeared at New York City Opera as Donna Elvira in Don Giovanni and in the title role of Madama Butterfly. She sang her first Gilda in Rigoletto with Opera Ebony in Philadelphia, and she performed Bess to great acclaim with Houston Grand Opera, on Broadway, and in

American soprano Esther Hinds is numerous concert versions. In the regarded as one of this country's summer of 1978, Ms. Hinds sang the leading artists on both the operatic and concert stage. In addition to her appearance at Tanglewood this summer under Klaus Tennstedt, Ms. Hinds will appear with the Easy Picnics with Boston Symphony Orchestra in Picnic Pack Mahler's Das klagende Lied during the Lightweight Oxford Picnic cloth 1983-84 season in Boston and New folds to tote! Roomy pockets hold beverages, food and York under Seiji Ozawa's direction. supplies. 38" square She also appears with the Cleveland Velcro closures Washable

Orchestra at the Blossom Music Order yours now to enjoy all summer Center and with the Toronto Red, blue, green, wine. Symphony on two separate occasions in Toronto and once at Carnegie Picnic Pack Hall. She performs with Charles PO Box 14614 Dept. T Dutoit and the Montreal Symphony, Hartford, CT 06114 and in December 1983 she sings

57 1983 Festival of Contemporary Music at Tanglewood Co-sponsored by the Fromm Music Foundation at Harvard and the Berkshire Music Center Saturday, 13 August — Thursday, 18 August 1983

Saturday, 13 August, 1:30 p.m.: Tent Festival Preview with Gunther Schuller, Director of Contemporary Music Activities at the Berkshire Music Center; Hans Werner Henze, Composer- in-Residence at the Berkshire Music Center; and Paul Fromm, Director, Fromm Music Foundation at Harvard.

Saturday, 13 August, 2:30 p.m.: Theatre -Concert Hall Members of the Berkshire Music Center Fellowship Program Works by Richard Felciano, Hans Werner Henze, Rodney Lister*, Brian Fennelly, and Toru Takemitsu

Sunday, 14 August, 2:30 p.m.: Shed Boston Symphony Orchestra Seiji Ozawa, conductor Concert including Peter Lieberson's Piano Concerto with soloist Peter Serkin (commissioned by the Boston Symphony Orchestra for its centennial)

Sunday, 14 August, 8:30 p.m.: Theatre-Concert Hall Members of the Berkshire Music Center Fellowship Program Works by Paul Alan Levi, Erich Urbannerf, Donal Fox*, John Melby, and Jonathan Lloydf

Monday, 15 August, 8:30 p.m.: Theatre-Concert Hall Boston Symphony Chamber Players, with Benita Valente, soprano, and Gilbert Kalish, piano Works by Arnold Schoenberg, Elliott Carter, and Earl Kim

Tuesday, 16 August, 8:30 p.m.: Theatre-Concert Hall Members of the Berkshire Music Center Fellowship Program Theodore Antoniou, conductor Works by Robert X. Rodriguez, Peter Maxwell Davies, and George Antheil

Wednesday, 17 August, 8:30 p.m.: Theatre-Concert Hall Berkshire Music Center Orchestra Gunther Schuller, conductor Works by Richard Busch, Hans Werner Henze, David Chaitkin, and Edgard Varese

Thursday, 18 August, 8:30 p.m.: Theatre-Concert Hall Sequoia String Quartet Works by Glaus Adam, Milton Babbitt, and Beethoven *commissioned by the Berkshire Music Center and the Fromm Foundation for this Festival; first performance

ffJrst United States performance All events except the Boston Symphony Orchestra on 14 August and the Sequoia String Quartet on 18 August, both of which require Berkshire Festival Tickets available at the Tanglewood Box Office, are free to Friends of Music at Tanglewood and open to the public for a $4.00 contribution at the Main Gate ($5 on 17 August).

58 role of The Basilissa in Menotti's broadcasts. He is a regular guest at opera The Egg at the Spoleto Festival the Royal Opera House, Covent both in Charleston, South Carolina, Garden, the Glyndebourne, Edinburgh, and in Spoleto, Italy. In the spring of and Aldeburgh festivals, in Munich, 1977 Ms. Hinds performed and Vienna, and throughout the United recorded Roger Sessions's cantata. States, and he has performed under

When Lilacs Last in the Dooryard Bloom'd, such eminent conductors as Sir with Seiji Ozawa and the Boston Colin Davis, Bernard Haitink, Zubin Symphony, her first appearance with Mehta, Eugene Ormandy, Seiji the BSO. In 1978 she returned to Ozawa, and Sir Georg Solti.

Symphony Hall for BSO perfor- Mr. Luxon is noted for his mances of Janacek's Glagolitic Mass recordings of works by the British under the direction of Andrew composers Vaughan Williams, Delius, Davis. Walton, and Benjamin Britten, and he was invited by Britten to perform the title role in that composer's Benjamin Luxon television opera Owen Wingrave, broadcast throughout Great Britain, most of Western Europe, and the United States in 1971. His recordings include an acclaimed collection of English ballads, "Give Me a Ticket to Heaven," as well as performances of Haydn's opera Orlando Paladino,

William Walton's Belshazzar's Feast, and the Beethoven Ninth Symphony with Bernard Haitink and the London Philharmonic. Mr. Luxon, who made his Metropolitan Opera debut in Tchaikovsky's Eugene Onegin in January 1980, first appeared with the Boston Symphony in the spring

Born in Cornwall, England, the versatile British baritone Benjamin Luxon studied at the Guildhall School of Music and won the '^JSakshireSBallet school's Gold Medal. A prizewinner in the 1961 Munich International ROMEO & JULIET KOUSSEVITZKY JULY 2 3 9, 10 ARTS CENTER

Competition and later engaged to Mini Matinee - JULY 7 2r i THEATRE

Be'ksfiire Comniuniiy Conege

broadcast Lieder recitals over leading LE DIVERTISSEMENT Piiisiieio MA

German radio stations, he is now one of the British few singers to GISELLE have achieved success in JULY 30 31 & AUG 6 7 Germany as " Mini Mdlinee - AUG 4 ?p m a Lieder singer. Internationally in PERFORMANCES demand for operatic and orchestral Saluraays ^ 00 p m & 8 30 p m Sundays 8 00 p m

as well as Lieder performances, TICKET PRICES SlO 00 & S9 00 Discounts for ctiildren senior citi/ens and groups Mr. Luxon is also known for recordings, television, and radio TICKET INFORMATION & RESERVATIONS: (413) 442-1307 bi 59 1

1.

OPENING NIGHT GALA SEPTEMBER 28 IN SYMPHONY HALL

SEIJI OZAWA, conductor ITZHAK PERLMAN, violinist

BERLIOZ 'Waverley' Overture MENDELSSOHN Violin Concerto BIZET 'Carmen' Suite SARASATE 'Zigeunerweisen'

The concert which begins at 6:30 p.m. will be followed by an elegant gourmet black tie dinner in Symphony Hall.

Tickets to this non-subscription event are currently on sale exclusively to BSO subscribers and Friends. For further information, please contact the Friends' Office at Tanglewood, (413) 637-1600. -

of 1976 and has returned for per- wood, working with Music Director formances of Eugene Onegin, the Seiji Ozawa, Principal Guest Con- Brahms German Requiem, the Faure ductor Sir Colin Davis, John Williams Requiem, the Dvorak Stahat Mater, and the Boston Pops, and such Mahler's Eighth Symphony, and prominent guests as Leonard Bern-

Jesus in Bach's St. John Passion, all stein, Claudio Abbado, Klaus under the direction of Seiji Qzawa. Tennstedt, Mstislav Rostropovich, Andre Previn, Eugene Ormandy, and Gun4:her SchuUer. Tanglewood Festival Chorus Unlike most other orchestra choruses, the Tanglewood Festival John Oliver, conductor Chorus under John Oliver also includes regular performances of

a cappella repertory in its schedule, requiring a very different sort of discipline from performance with orchestra, and ranging in musical content from Baroque to con- temporary. In the spring of 1977, John Oliver and the chorus were extended an unprecedented invitation by Deutsche Grammophon to record a program of a cappella twentieth century American choral music; this record received a Grammy nomination for best choral performance in 1979. In addition, Mr. Oliver and the chorus have recently completed a Co-sponsored by the Berkshire record for Nonesuch, featuring Music Center and Boston University, music of Dallapiccola and Weill, and the Tanglewood Festival Chorus was scheduled for release in 1983. organized in the spring of 1970 The Tanglewood Festival Chorus when John Oliver became director of vocal and choral activities at the Berkshire Music Center. Originally formed for performances at the BEMENT Boston Symphony Orchestra's summer home, the chorus was soon playing a major role in the 5CH00U Deerfield, Massachusetts orchestra's Symphony Hall season as well. Under the direction of con- The Bement School is an independent, co- educational, boarding and day school for chil- ductor John Oliver, the Tanglewood dren of average and above-average ability in grades K through 9. Emphasis is placed on the Festival Chorus is regarded by basic academic, social, and organizational skills conductors, press, and public as one needed for future success. The curriculum is presented in a structured setting where students of the great orchestra choruses of are sectioned according to their individual the world. The members of the abilities. Fine arts, physical education, and competitive sports are part of the daily schedule. chorus donate their services, and they perform regularly with the Mrs. Anne Coppinger, Director of Admissions Bement School, Box S Boston Symphony Orchestra in Deerfield, Massachusetts 01342 413/774-7061 Boston, New York, and at Tangle-

61 has collaborated with the Boston No. S, the Symphony of a Thousand. Symphony Orchestra on numerous Other recordings with the orchestra recordings for Deutsche Gram- include music of Ravel, Liszt, and mophon. New World, and Philips. Roger Sessions, and the chorus has For the chorus' first appearance on also recorded with John Williams and

records, in Berlioz's Damnation of the Boston Pops. Faust, John Oliver and Seiji Ozawa In addition to his work with the received a Grammy nomination for Tanglewood Festival Chorus, John best choral performance of 1975. Oliver is conductor of the MIT The Tanglewood Festival Chorus Choral Society, a senior lecturer in may be heard on the Philips releases music at MIT, and conductor of the of Schoenberg's Gurrelieder, taped live John Oliver Chorale, now in its sixth during Boston Symphony perfor- season, and with which he has mances and named best choral re- recorded Donald Martino's Seven Pious cording of 1979 by Gramophone Pieces for New World records. magazine, and Mahler's Symphony

Tanglewood Festival Chorus John Oliver, conductor

Sopranos Nancy Lee Patton Suzanne D. Link Elizabeth Adams Lisa Ann Pickett Dorothy W. Love Pigg Jody Bailey Jennifer M. Katherine McGuire Virginia K. Bowles Julia Poirier April Merriam Christine F.W. Brigand! Charlotte C.R. Priest Ann L. Pinto Nancy H. Chittim Lisa Saunier Deborah Ann Ryba Bonita Ciambotti Joan Pernice Sherman Christina St. Clair Soparkar Mary Robin Collins Kim W. Smith M.K. Kamala Carole Stevenson Julie Steinhilber Margo Connor J. E. Sullivan Nancy P. Stevenson Joy Curtis Martha Lou Ann David Pamela Wolfe Helen T. Taylor Tierney Helen M. Eberle Judith Susan Rose Edelman Mezzo-sopranos Lorraine Walsh Warburton Monica Ernesti Elizabeth Baldwin JoAnne Rebecca Shellman Flewelling Maisy Bennett Natasha M. Wei Dorothy Vanish Lisa Heisterkamp Rebecca Chamberlain J. Lois Himml Barbara Clemens Alice Honner-White Arnalee Cohen Tenors Gaiianne Cummings Hubbard Barbara A. Cooper Paula Jacobson Ethel Crawford Darryl Alan Abbey Christine M. ]aronsi

J. Stephen Groff Grace J. Napier Thelma Hayes Diana Noyes Donna Hewitt Dean Armstrong Hanson Fumiko Ohara Leah Jansizian George Harper

62 ^r^ James P. Hepp Basses Rene A. Miville Francisco Noya John W. Hickman Peter T. Anderson Fred G. Hoffman Stephen H. Owades David J. Ashton Martin R. Pierce Richard P. Howell Richard Bentley Jules Rosenberg Stanley Hudson W. Douglas Bond Vladimir Roudenko John C. Karris David H. Bowles Edward Kiradjieff Kenneth Sallenger J. Daniel E. Brooks Douglas E. Lee Sebastian Salvo, Jr. Ronald J. Chibaro F. Brian McConville Robert Schaffel Neil Clark Robert W. Schlundt David E. Meharry James W. Courtemanche Frank R. Sherman Edmund Mroz Douglas A. Dittman Edward P. Quigley Gregory J. Slowik Jan M. Dovenitz Peter S. Strickland David A. Redgrave John Knowles Riordan Peter J. Wender Thomas J. G. Paul Kowal Paul R. Ruest Pieter Conrad White Kenneth L. Lawley Robert Ruplenas Howard Wilcox Lee B. Leach Herman P. Schultz Steven Ledbetter Terence Stephenson David K. Lones Don Patrick Sturdy Sandy Macfarlane Mark Wilson Henry Magno Richard H. Witter David B. McCarthy Robert E. Yorke Robert S. McLellan

Jean M. Scarrow, Manager Susan Almasi, Rehearsal pianist

63 We are pleased to be the exclusive movers for 'BaldwiTl. pianos and organs and the Boston Symphony Orchestra at Tanglewood.

UNfTWD UNfTED UNfTED

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64 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Sunday, 31 July at 2:30

SEIJI OZAWA conducting

BRAHMS Symphony No. 3 in F, Opus 90 Allegro con brio Andante Poco Allegretto Allegro — Un poco sostenuto

INTERMISSION

DVORAK Cello Concerto in B minor. Opus 104 Allegro Adagio, ma non troppo Finale: Allegro moderato YO-YO MA

Please do not take pictures during the concert. Flashbulbs, in particular, distract the musicians and other members of the audience.

Please be sure the electronic signal on your watch or pager is switched off during the concert. Philips, Jelarc, CBS, Deutsche Grammophon, Hyperion, and RCA records Baldwin piano

65 Week IV Won't you spend a Midsummer Evening with us ? Or two, or three, or four?

July 16 7:30 PM July 23 730PM

Bach Verdi Aiass mB Aij'mr A.ldu (ACT II)

Charles Dodsley Walker And...

July 30 7:30PM Wagner Mozart Meistersinger Solemn Vespers (SCENES) A\ass in CMinor John Mauceri Lorna Cooke deVaron They are beautiful evenings, filled with great music, the 100-voice Berkshire Festival August 6 7:30 PM Chorus, outstanding soloists and conductors, The Springfield Symphony Orchestra, the green lawns of a 500-acre campus, and the stars. Come. With family, with friends. Have a picnic. Wine Brahms & cheese are available on the grounds. Box seats: AGerman Requiem $12.00; Orchestra: $7.00. For reservations, call (413) 229-6634 after 4 July. Tickets also avail- able at performances. The concert shed is on the campus of The Berkshire School in Mass., Robert Page SW just north of Salisbury, Conn. Entry, parking, departure are all mercifully swift and simple.

Sincere^; Johann,Giuseppe, Richard, W)lfgangJohiarines and the Berkshire Choral Festival

Berks/iiTe S>ch.oo\ lies on the west side of Route 4 1 m southwestern Massachusetts, 9.5 miles north of Salisbury, Connecticut, or 3 miles south of the intersection of Routes 23 and 41 near South E^remont, Massachusetts.

66 NOTES

Johannes Brahms Symphony No. 3 in F, Opus 90

Johannes Brahms was born in Hamburg, Germany, on 7 May 1833 and died in Vienna on 3 April 1897. He completed his Third Symphony during a stay at

Wiesbaden in the summer of 1883; the two middle movements may date back to a never- completed "Faust" project on which Brahms was working in 1880-81. Hans Richter led the Vienna Philharmonic in the first performance of the F major symphony on

2 December 1883. It was first heard in America at one of Frank Van der Stucken's

"novelty concerts" at New York's Steinway Hall on 24 October 1884. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

The first performance of the Brahms Third Symphony, in Vienna on 2 December 1883, was successful despite the presence in the audience of a vocal Wagner-Bruckner faction which held against Brahms both his fame as a composer and his friendship with the critic Eduard Hanslick, who pronounced the F major "a feast for the music lover and musician" and, of

Brahms's symphonies to that time, "artistically the most perfect. It is more compactly made, more transparent in detail, more plastic in the main themes." According to Hanslick, Hans Richter, the conductor of the premiere, christened this symphony "Brahms's Eroica" shortly before the first performance. And like Beethoven in his Third Symphony, Brahms marks the first movement "Allegro con brio." Brahms had already secured his reputation as an orchestral composer with the premiere of his Variations on a Theme by Haydn in Vienna in November 1873. Already behind him were his First Piano Concerto, the D major Serenade, Op. 11, and the A major Serenade, Op. 16, all dating from the late 1850s. Some material for the First Symphony also dates back to that time, but that work had to wait for its completion until 1876, by which time Brahms was able finally to overcome his strong reservations about following in Beethoven's footsteps. The Second Symphony followed without hesitation a year later, and the Violin Concerto came a year aft;er that, both being products of Brahms's particularly productive summer work habits. Likewise the Third Symphony in 1883: having been occupied with thoughts for the symphony for some time, he interrupted a trip to the Rhine, renting accommodations in Wiesbaden so that he could complete the work and apparently writing it out without pause.

The Brahms Third is generally considered the most difficult of the four

for a conductor to bring off successfully, and not just because all four of its movements end quietly — a fact which causes some conductors to shy away from it altogether, and which also may explain why it appears with considerably less frequency than the First, Second, and Fourth. Early in this century, Tovey described the F major as "technically by far the most difficult [of Brahms's symphonies], the difficulties being mainly matters of rhythm, phrasing, and tone." One can expand upon this by mentioning

67 Week IV the swift alternation of sharply contrasted materials during the course of the first movement, and the need to make both clear and persuasive the thematic connections which bind together the first, second, and last movements, a procedure Brahms does not attempt in his other symphonies. And, as the least often performed of the four, the Third remains, in a sense, almost "new" insofar as audiences are concerned, and especially since its tight thematic and architectural structure, lean orchestration, and less effusively Romantic tone stand in sharp contrast to the other three. The symphony begins Allegro con brio, with a rising motto for winds and brass whose broad 6/4 meter seems almost to hold back forward progress; it is only with the introduction of the main theme, taking the initial motto as its bass line, that the music begins really to move:

Al. a: .fi. etc. i ^ii-^ "« t ' . I/J* I ^» vS •^Woodwind, Brass -^^J^. ^^f^t— F

Trombs. etc. in lower 8ve9

The three-note motto, F-A-flat-F, is Brahms's shorthand for 'Jrei aher froh," "free but glad," musical symbolism he had already used in the A minor string quartet. Opus 51, No. 2, as rejoinder to Joseph Joachim's

F-A-E, "frei aher einsam," "free but lonely," many years before. But the

F-A-flat-F motto here serves still another, purely musical purpose: the A-flat suggests F minor rather than F major, an ambiguity to be exploited elsewhere in the symphony. The sweeping main theme gives way to a

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68 new idea, tentative in its progress, clinging tenuously to nearly each note before moving to the next, but soon opening out and leading to a graceful theme given first to solo clarinet, then to solo oboe and violas in combination. This theme, in darker colorations, will be prominent in the development section of the movement. Now, however, an increase in activity leads to the close of the exposition, a forceful passage built from stabbing downward thrusts in the strings and a swirling wave of energy beginning in the winds and then encompassing the entire orchestra before grinding to a sudden halt for a repeat of the exposition. This is a particularly difficult moment rhythmically since the return to the nearly static opening of the movement comes virtually without warning, but there is something about the tight, classical architecture of this shortest of Brahms's symphonies that makes the exposition-repeat an appropriate practice here, and not just a bow to convention. Hearing the beginning twice also helps us recognize the masterstroke which starts the recapitulation, where the motto idea, introduced by a roll on the kettledrum, broadens out both rhythmically and harmonically to propel the music forward in a way the opening of the symphony did not attempt. The motto and main theme will come back in yet another forceful guise to begin the coda, the theme transforming itself there to a chain of descending thirds — Brahms's musical signature in so many of his works — before subsiding to pianissimo for one further, quiet return in the closing measures. The second and third movements are marked by a contained lyricism, subdued and only rarely rising above a piano. Hanslick describes the opening pages of the C major Andante as "a very simple song dialogue between the winds and the deeper strings"; the entry of the violins brings emphatic embellishment and the appearance of a new idea sweetly expressive within a narrow compass, clearly characterized by the repeated pitch at its oeginning and the triplet rhythm which stirs its otherwise halting progress:

y IZM ^^^^^ efffm •?•• Jp esjr, doles ^tW

Brahms will use the repeated-note motive to mysterious effect in this movement, but the entire theme will return to extraordinarily significant purpose later in the symphony.

The third movement is a gentle interlude in C minor, its pregnant melody heard first in the cellos and then in a succession of other instruments, among them combined flute, oboe, and horn; solo horn, solo oboe, and, finally, violins and cellos together. Before the statement by the solo horn, an interlude plays upon a yearning three-note motive again characterized by a simple repeated-pitch idea. As in the preceding movement, trumpets and drums are silent. The finale begins with a mysterious dark rustling of strings and bassoons that seems hardly a theme at all, and it takes a moment for us

69 Week IV to realize that, contrary to all expectation — but obviously so right once we're aware of it — this last movement is in the minor mode. A pianissimo statement of the second-movement theme quoted earlier steals in so I quietly that we barely have time to make the connection. Then, without warning, a fortissimo explosion alerts us already to how ripe for development is Brahms's "non-theme," as in the space of just a few pages it is fragmented and reinterpreted both rhythmically and melodically. This leads to the finale's second theme, a proud and heroic one proclaimed in the richly romantic combined timbres of cellos and horns; this is the music which suggested to Joachim the story of Hero and Leander.* After playing with further muted transformations of the opening idea, the development builds to a climax on overlapping statements of the second- movement theme proclaimed by the orchestra at full volume and hurtling the music into the recapitulaton. Only with a quiet transformation in the violas of the opening idea does the energy level finally subside, and the symphony's final pages return to the soft serenity of F major with the reemergence in a newly restrained guise of the second-movement theme, followed by allusion to and the return of the F-A-flat-¥ motto, and, at the end, one last, mist-enshrouded recollection of the symphony's beginning.

— from notes by Marc Mandel

Joachim writing in a letter to Brahms dated 27 January 1884: "I find the last

movement of your symphony deep and original in conception ... It is strange

that, little as I like reading poetic meanings into music, I have here formed a clear picture of 'Hero and Leander' and this has rarely happened to me in the whole range of music. The second subject in C major recalls to me involuntarily the picture of the intrepid swimmer fighting his way towards the promised goal, in

the face of wind and storm. Is that something like your own conception?"

70 Antonin DvoFak Cello Concerto in B minor. Opus 104

Antonin Dvorak was born in Nelahozeves (Miihlhausen), Bohemia, near Prague, on

8 September 1841 and died in Prague on 1 May 1904. He composed his B minor Cello Concerto in New York, beginning the first movement on 8 November 1894 and the finale on New Year's Day of 1895. He had meanwhile begun the full score on 18 November, reaching the finale on 12 January 1895 and completing the whole,

"Thanks be to God ... 9 February 1895, on the day of our [son] Otdcek's birthday,

Saturday in the morning, 11:30 a.m." A month after he returned home, Dvorak's sister- in-law, Josefina Kaunitzovd, with whom he had once been in love, died of a serious illness, leading the composer to substitute sixty bars of new music replacing four measures "1 just before the end (see below). After the last bar, Dvorak wrote in the manuscript: finished the Concerto in New York, but when I returned to Bohemia 1 changed the end completely as it stands here now. Pisek, 11 June 1895." The score is dedicated to

Dvorak's close friend, the cellist Hanus Wihan, but the first performance was given by

Leo Stern as soloist with the London Philharmonic Society at Queen's Hall under the composer's direction on 19 March 1896. The first American performance was given by the Boston Symphony Orchestra under the direction of Emil Paur at the Music Hall in

Boston on 19 December 1896 with Alwin Schroeder as soloist. In addition to the cello soloist, the score calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, timpani, and strings, plus triangle in the last movement only.

Dvorak once said that he "studied with the birds, flowers, trees, God, and myself," and even late in life, at the height of his popularity, he described himself as "a very simple person ... a plain and simple Bohemian Musikant." Had the young Antonin followed in the footsteps of his father Frantisek, he would have been a butcher and innkeeper. The boy's first exposure to music came from traveling musicians and village bands. He had his first lessons from the village schoolmaster, and he was soon playing violin at his father's inn and elsewhere around town, though his attempts at singing went nowhere. But before he turned twelve he had left school to begin his apprenticeship in butchery. Sent to the nearby town of Zlonice primarily to learn German, he found, however, that musical opportunities beckoned in the person of Antonin Liehmann, the school German teacher who also happened to be the town organist. With Liehmann, Dvorak studied violin, viola, piano, organ, and keyboard harmony. He also copied out parts for the music his teacher provided the town orchestra; on one occasion, Dvorak attempted to sneak in a polka of his own, but at the first rehearsal it was evident that the boy had something more to learn about orchestration: a horrendous din resulted from errors in the parts for the transposing instruments. When a Prague innkeeping venture undertaken by his father collapsed and an understanding uncle offered to support his musical education, Dvorak was spared the career that had been chosen for him; Liehmann's encouragement, too, played a part in winning Frantisek's consent. So Antonin entered the Prague Organ School in 1857 for training as a

71 Week IV church musician and organist. During this time Dvorak played viola in the concerts of the St. Cecilia Society in Prague and was very likely an extra player for operatic performances at the Estates Theatre. Upon leaving school, he was also a member of a small band from which grew the orchestra of the Provisional Theatre in 1862. He was principal violist of this orchestra when Richard Wagner led a concert of his own music there on 8 February 1863, and from 1866 the conductor of the orchestra was Bedfich Smetana, before Dvorak the most important Czech nationalist

composer. So it was that Dvorak gained considerable practical experience and exposure to symphonic and operatic repertory, all the while supplementing his meager musician's pay by teaching. In November 1873, Dvorak married Anna Cermakova, the younger sister of his true love, Josefina (both had come to him as music students some years earlier), and the following February he became organist at St. Adelbert's Church in Prague, thereby providing himself a steadier source of income and more time for his composing, the products of which by now included chamber music, two symphonies, a cello concerto in A (dating from 1865, but deemed so unsatisfactory by the composer that he

never bothered to orchestrate it), a song cycle inspired by his love for Josefina, and his first two operas, Alfred and King and Charcoal Burner. By this time, Dvorak had already tasted public success with the performance

in March 1873 of his patriotic cantata Heirs of the White Mountain, but he had suffered defeat and become increasingly self-critical with the rejection

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in its first version of King and Charcoal Burner that same year. His first two

symphonies had in fact been written eight years earlier, and now it was time to throw off outside influences and make a name for himself. In July 1874 he submitted fifteen works, including his Third and Fourth symphonies (the E-flat and the early D minor), into consideration for an Austrian State Stipend for "young, poor, and talented painters, sculptors, and musicians, in the Austrian half of the [Hapsburg] Empire." The judges included Johann Herbeck, who was conductor of the Vienna State Opera, the critic Eduard Hanslick, and Johannes Brahms. Dvorak was one of the winners, as he would be again in 1876 and then in 1877, the year Brahms really set him on his way by championing him to the publisher Simrock, * 1 encouraging the latter to issue Dvorak's Moravian Duets for soprano and contralto. Both the Moravian Duets, Opus 32, and the Slavonic Dances, Opus 46, the latter specifically commissioned by Simrock, were published in 1878, and a quick succession of further publications, and then performances throughout Europe and as far afield as Cincinnati and New York, began to earn the composer an international reputation which grew steadily throughout his life (taking him to Moscow and St. Petersburg in March 1890 at the invitation of Tchaikovsky, whom he had met in Prague two years earlier), but which never undermined his sense of loyalty to his native land and fellow countrymen. In the spring of 1891 came the invitation from Jeannette Thurber — former music teacher who was the wife of a wealthy wholesale grocer.

Antonin Dvorak in 1892

73 Week IV \l.L

and who had unsuccessfully attempted to establish an English-language opera company in New York in competition with the Metropolitan Opera, thereby losing herself and her husband $1,500,000 — to come to America as Director of the National Conservatory of Music, which Mrs. Thurber had founded in 1885. The decision was a very difficult one for Dvorak, but Mrs. Thurber's persistence won out, and the composer arrived in New York on 27 September 1892, having agreed to the conditions of a two-year contract which included three hours' daily teaching, preparation of student concerts, conducting concerts of his own in various American towns, and a salary of $15,000 each year. It was Mrs. Thurber's aim that Dvorak provide a figurehead for her Conservatory and found an American school of composition, and this first extended stay in the United States produced his New World Symphony — composed between January and May 1893 and premiered by the New York Philharmonic under Anton Seidl on 15 December 1893 — as well as his F major string quartet. Opus 96, and the E-flat string quintet. Opus 97, each dubbed "The American" and both written during his summer vacation in 1893 at the Czech community of Spillville, Iowa. The father of Dvorak's secretary and

Josefina and Anna Cermdkovd; Dvordk

married Anna, shown seated in this

picture, about a year after the photograph was taken.

74 —

assistant, Joseph Kovafik, was schoolmaster, organist, and choirmaster in Spillville, and Dvorak decided to summer there with his wife, six children, a sister, and a maid rather than travel back to Bohemia. This was the happiest time Dvorak spent in America, for here he was entirely free of the hustle-bustle of the big city, where he had avoided social obligations whenever possible, where he had chosen apartment living over hotel accommodations (composing amidst the domestic clatter of the kitchen), where he regularly watched the steamboats depart for Europe (he was also fascinated with trains, but observing their departures was more difficult since he could not get onto the platforms without a ticket and so had to travel up to 155th Street to see them), and where the pigeons of Central Park evoked fond memories of those he raised at his country home in Vysoka, even if he could not get to know the American birds quite so well. But Dvorak obviously did like America enough to sign a second contract with Mrs. Thurber for a third year at the Conservatory he was held in particularly high regard, he enjoyed the traveling, there were significant musical acquaintanceships (among them Anton Seidl of the Philharmonic and Victor Herbert, then head of the cello class at the Conservatory and who, together with Dvorak, was asked by Mrs. Thurber to provide music for a four-hundredth-anniversary observance at the 1892 Chicago World's Fair of Columbus's discovery of America), and there were financial advantages — although once again the decision process was a protracted one, partly because the Thurbers' shaky finances at the time resulted in the composer's salary coming in only on an irregular basis, partly because Dvorak was once more hesitant to leave his homeland for a long period. On 1 November 1984 he took up his post as Director of the National Conservatory for a third term — this one spent entirely in New York, thereby making him all the more nostalgic for Bohemia — and it was during this time that he composed his Cello Concerto in B minor. Three people figured prominently in its history besides the composer: Victor Herbert, Hanus Wihan, and Josefina Kaunitzova. The Irish-born Herbert — best-known now as the composer of such popular operettas as

Babes in Toyland and Naughty Marietta, but also a conductor, and himself a cellist fine enough to be principal at the Metropolitan Opera — gave the first performances of his own Second Cello Concerto with Seidl and the Philharmonic on 9 and 10 March 1894. Dvorak, in attendance at the premiere, was delighted with the work, and with his friend Hanus Wihan in mind as soloist, he soon turned to composing a cello concerto in response to Wihan's request of some time earlier. Cellist of the Bohemian Quartet, Wihan suggested some revisions to the solo line of Dvorak's concerto, some of which were adopted by the composer. On one point, however, Dvorak would not bend: Wihan wrote a fifty-nine bar cadenza for insertion into the finale, but this would have conflicted with Dvorak's conception of the ending as a tribute to his late, beloved sister-in-law Josefina Kaunitzova. While working on the second movement of the concerto, the composer had received word that Josefina was seriously ill, and this prompted him to include, in the middle part of the slow move- ment, a reference to his song, "Leave me alone" ("Kez duch muj sdm"), the

75 Week IV first of the Four Songs, Opus 82, from 1887-88, and a special favorite of Josefina's. Shortly after Dvorak's return home, Josefina died, and he wrote sixty bars of new, quiet music for insertion just before the end of the last movement. Here, in addition to a poignant reminiscence of the

main first-movement theme (all the more touching for its "minor- modeness" in the context of the B major finale), Dvorak brings in another

recollection of "Leave me alone," giving it now to solo violin in its high

register, lovingly harmonized by flutes, before it passes in a further variant to the solo cello. Yet Dvorak ends the music in a burst of high spirits, on, in Otakar Sourek's words, "a note of almost incoherent happiness at being home at last in his beloved Bohemia," and here we have a hint to the character of the work as a whole, which, though a product of the composer's time in America, has nothing in it of that country.

The concerto is brilliantly and vividly scored from the very start, where Dvorak typically alternates high and low registers to maximum effect before filling in the orchestral texture (compare, for example, the beginning of the Eighth Symphony*). The writing for the solo instrument is exquisite and virtuosic throughout, and Dvorak's unceasing care and invention in setting it against the orchestral backdrop is a source of constant pleasure. The themes are strongly characterized, yet readily transferable from orchestra to soloist: hence, in the first movement, the two principal themes sound just as fresh in the soloist's hands as they do in the orchestral exposition (Tovey called the second subject "one of the most beautiful passages ever written for the horn"). The return at the end of ideas from the first two movements brings a touching unity to the whole, and the "turn figure" of the rondo theme in the last movement

'Other stylistic links between the Cello Concerto and the Eighth Symphony are suggested by the openhearted geniality of their opening movements and the pseudo-martial character of their last-movement themes.

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16 provides an unconscious link to the mood of the opening Allegro, whose main theme includes a similar sixteenth-note turn. Dvorak also proves himself a wise master of formal architecture: after introducing both principal first-movement themes in the orchestra and then allowing the soloist to expand upon them at length, he lets the central episode of the development — a magical treatment of the first theme in the dreamily distant key of A-flat minor, the tune in the cello being set against a solo flute countermelody — build directly to the recapitulation of the second subject before a final joyous and further expansion of the main theme by the soloist leads to the brilliant series of fanfares which brings the movement to a close. Following the songful Adagio, the expansively lyric episodes of the otherwise exuberant rondo finale (one of them high- lighting the solo violin against a series of trills and then harmony at the lower tenth in the solo cello) there lead the composer to a similar sort of architectural foreshortening.

The literature for solo cello and orchestra is not large. Besides the Dvorak, there are the two Haydn concertos, the two Saint-Saens concertos, Tchaikovsky's Rococo Variations, and, in this century, the concertos by Elgar and Walton. Add to this the Beethoven Triple Concerto for piano, violin, and cello, the Brahms Double for violin and cello, the admittedly flawed Schumann concerto, and, for the sake of completeness, if in another realm, Strauss's Don Quixote. When Johannes Brahms, who had composed his own Double Concerto in 1887 as something of a lark, first saw the score of Dvorak's concerto, he commented, "Why on earth didn't I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!" Indeed, as far as today's audiences are concerned, the B minor Cello

Concerto would seem to hold pride of place, and for good reason: it reminds us that for all his international fame, Dvorak never lost sight of who or what he was — "a plain and simple Bohemian Musikant," yes, but one of uncommon skill, sensitivity, and genius.

— from notes by Marc Mandel

The complete version of this program note, which is printed here in somewhat shortened form, appeared originally in the program book of the San Francisco Symphony copyright ®1983.

77 Week IV ^

7S

^-r>i\ Yo-Yo Ma

perform with the London Symphony Orchestra at the newly opened Barbican Hall with Queen Elizabeth in attendance. Other highlights of the 1981-82 season included appearances with such orchestras as the Berlin Philharmonic, the Pittsburgh Symphony, the Cleveland Symphony, and the Montreal Sym- phony, and a tour of Israel and Japan. Last summer, he appeared at the Mostly Mozart, Blossom, Ravinia, and Spoleto (North Carolina) festivals. Mr. Ma made his debut recording with Herbert von Karajan and the Berlin Philharmonic in a perfor- Cellist Yo-Yo Ma gave his first mance of the Triple public recital at the age of five. By Beethoven Concerto. his the time he was nineteen, critics Under exclusive con- were comparing him to such masters tract with CBS, he has also recorded of the cello as Mstislav Rostropovich concertos by Haydn, Saint-Saens, and Pablo Casals. In 1978, Mr. Ma and Lalo, a volume of Beethoven won the coveted Avery Fisher Prize, sonatas for cello and piano with and he has since been acclaimed Emanuel Ax, and his own tran- throughout the world. He has scriptions of music by Paganini and appeared with such major orchestras Kreisler. Future recording plans as the New York Philharmonic, the include the complete Bach suites for Chicago Symphony, the Berlin Phil- harmonic, the London Symphony, the San Francisco Symphony, and the Israel Philharmonic, under the direction of such eminent conductors as Herbert von Karajan, Zubin Mehta, Andre Previn, Claudio TRINITY EPISCOPAL CHURCH Abbado, Lorin Maazel, Sergiu LENOX MASS. Comissiona, and Seiji Ozawa. His Sundays: 8:00 Q.m., 10:15 a.m., 7:15 p.m. national and international tours also Horse Show - August 8fh include solo recitals and chamber Overmeode Stobles, Lenox music appearances with such artists as Leonard Rose, Pinchas Zukerman, Gidon Kremer, Yehudi Menuhin, and pianist Emanuel Ax. One of the most sought-after artists in the world, Yo-Yo Ma performed nine times in New York alone last season,

including three recitals at Alice Tully 'ri^. Hall for music of Bach. In the spring of 1982, Mr. Ma was invited to

79 solo cello, the Bach suites for gamba School and began his studies with and harpsichord, concertos by Leonard Rose. A graduate of Boccherini, J.C. Bach, Shostakovich, Harvard University, he lives with his ^^ and Kabalevsky, and, for RCA, the wife, Jill, in Winchester, Massa- Brahms sonatas for cello and piano chusetts. Mr. Ma's instrument is an also with Emanuel Ax. Italian Goffriller dating from 1722. Born in Paris to Chinese parents He has made frequent appearances in 1955, Mr. Ma began his cello in the Boston area and gave his first studies with his father at age four. performances with the Boston Sym- He later studied with Janos Scholz, phony Orchestra this past February and in 1962 he entered the Juilliard at Symphony Hall.

4

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Individual $35/ Friends of Music at Tanglewood nnay attend free concerts Family $50 performed by students of the Berkshire Music Center, the BSO's distinguished academy for advanced study in music. The fascinating Talks and Walks series, which grows more popular each year, is available to all Friends. These informal talks feature a member of the Boston Symphony or guest artist and are followed by a guided tour of the Tanglewood grounds. Reservations can be made through the Friends' Office. The Boston Symphony Orchestra's newsletter, BSO, will keep Friends informed of all Symphony activities throughout the year. Family membership provides the benefits described above for member, spouse, and all children 21 years of age and under.

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There are several opportunities to support Tanglewood and the training of young, talented musicians at the Berkshire Music Center. For your generous participation in these efforts you will receive the privileges described below. Donors interested in the Fellowship Program should contact Acting Director of Development Joyce Snyder Serwitz at Symphony Hall Boston, (617) 266-1492.

$1,250 Partial A donor of $1,250 will be contributing toward the training Fellowship of a young, talented musician at the BMC, will be invited to attend a special reception with Fellowship recipients, and will be listed in the Tanglewood program at the end of the concert season, as well as entitled to all the benefits of Tanglewood membership.

$2,000 A donor of $2,000 will be the sponsor of a Berkshire Music Fellowship Center Fellowship, helping to underwrite the cost of an eight-week summer study program. Donors will be invited to a special reception with their Fellowship recipient and will be listed in the program, as well as entitled to all benefits of Tanglewood membership.

$50,000 A gift of $50,000 will endow a Berkshire Music Center Fellowship Fellowship, providing sustaining support for the program, Endowment and enabling one Fellowship student each year to study ^t Tanglewood. Donors will be invited to a special reception with their Fellowship recipient and will be listed in the program, as well as entitled to all the benefits of Tanglewood membership. "

GaU€iy Original Japanese Woodblock Prints. June 29-July 17 Ill Japanese Ukiyo-e An Overview July 20-August 7 Listen to a Secret The 47 Loyal Retainers Chushingura in beautiful Nestled the A Japanese Epic Berkshire Hills are 456 acres of country August 10- September 4 hospitality and enjoyment—the Kuniyoshi Ukiyo-e Prints Japanese History St Legend Oak n' Spruce, an interval ownership Open Wednesday thru Sunday resort. Open year round, 10 AM-5 PM and by appointment Seekonk Road Oak n' Spruce provides country in Great Barrington living accommodations. New England Call for directions: (4 13)528-4865 style cuisine, golf, tennis, fishing, swimming, a full health club, entertainment and much more. •••••••*••••*•##« Words can only begin to describe the serenity and charm iSnms]mm(^lc(nnpam

here. You must see "it could not be a better introduction to Shakespeare for young audiences. Oak n' Spruce for yourself. Frank Rich, NY. Times 1981 Their Sixth Season of Join us^ as our guest, Shakespeare under the Stars for a sumptuous July 13 - August 27 Sunday Brunch and share the secret.

Anytime during the Tanglewood BSO Concert Season, present your concert ticket stubs at our main dining room for a complimentary Sunday Brunch (10:30 A.M.-3:30 P.M., limit—2 tickets per brunch). We ask only that you allow one of our friendly staff to introduce you to our magnificent grounds and facilities. Reservations are required,

as seating availability is limited.

Come visit and enjoy the best kept T^ne Comedv of Errors secret in the Berkshires. Directed by *Because alcoholic beverages are served with Tina Packer the brunch, guests must be of legal age. also during June, July and August

The Mount: A Turning Point Oak n' Spruce Resort Box Office South Lee, Massachusetts 01 260 413-637-3353 Telephone: (413) 243-3500 SHAKESPEARE & COMPANY at THE MOUNT Outside MA (toll-free) 1 -800-628-5072 »**•***Lenox, Massachusetts 01240

MmS!S>:^ 1 "

1983 Tanglewood Talks & Walks

Exclusively available to the Friends July 14 Edo de Waart of Music at Tanglewood is a stimulating series of five Thursday Music Director lecture-luncheons in the Tanglewood San Francisco Symphony Tent, beginning at 12:15 p.m. and followed by a guided tour of the July 21 Sherrill Milnes Tanglewood grounds. Guest speakers include musicians and conductors. Baritone Bring a lunch; coffee and tea will be available. July 28 Maureen Forrester Reservations must be prepaid and cannot be accepted by phone. Contralto Seating will be determined in the order reservations are received. August 4 Yo-Yo Ma Special seating requests will be accommodated to the extent possible. Cellist The series of five Talks & Walks is available for a fee of $12.50; August 11 Roger Voisin individual tickets may be purchased for $3 per program. However, ticket Former Principal Trumpet requests may be accepted only from Boston Symphony Orchestra Friends of Music at Tanglewood.

Reservations may be made through the Friends' Office or by mailing your request to: Talks & Walks Tanglewood Lenox, Massachusetts 01240

Checks should be made payable to "BSO/Talks & Walks

IRRESISTIBLE BABY CLOTHES, ACCESSORIES, GIFTS • WEAVINGS o Z H 3 Z a O u T u a < z < 2 2 UJ O

Z c75 LU UJ Q D CHURCH STREET IN LENOX PHONE 637-0340 O O P 2 c/) < U NEEDLEPOINT, CROSS STITCH AND CANDLEWICKING • LESSONS Dine With Us at Seranak

The Seranak Supper Club

The Seranak Supper Club provides an elegant setting for dining and relaxing at Tanglewood while helping the Boston Symphony Orchestra at the same time. In return for a tax-deductible contribution of $500 to the Friends of Music at Tanglewood, donors may dine at the Supper Club before the concerts on Friday and Saturday evenings throughout the Tanglewood season. The evening begins with cocktails on the terrace, where guests enjoy a spectacular view of the Stockbridge Bowl. The gourmet menu features the best in continental cuisine prepared by Chef Charles Voos.

Once the summer home of the legendary Serge Koussevitzky, Seranak is just minutes away from the Tanglewood grounds, where special parking facilities reserved for Seranak diners ensure arrival at the concert with a minimum of effort.

For a perfect prelude to an evening of glorious music, join us for dinner at the Seranak Supper Club. Members of the Seranak Supper Club receive all the privileges of membership in the Friends of Music at Tanglewood. For details, contact Joyce Serwitz in the Symphony Hall Development Office, (617) 266-1492, or send your check payable to the "Friends of Music at Tanglewood" to Symphony Hall, Boston, MA 02115.

k The Executive Committee Tanglewood Council of the Boston Symphony Orchestra 1982-83

Mrs. Thomas Morse Mr. Mark L. Selkowitz Co-Cha\rmen

Mrs. John M. Bradley Boston/Tanglewood Liaison A BREATHTAKING VIEW—EXCELLENT CUISINE, AND LOVELY ROOMS WITH PRIVATE BATHS, Mr. Kelton Burbank DINNER 5:30-9:30— RESERVATIONS APPRECIATED Secretary/Treasurer 413-637-1477 Mrs. Peter Buttenheim Student Affairs k 224 WEST ST., LENOX, MA 01240-0699

Mrs. Arthur J. Conlon, Jr. Tea Dance

Mr. Joseph Duffy Sales and Information

a clear day Mrs. Craig W. Fischer On Talks & Walks

you can hear Mrs. John Gait Connecticut. Student Affairs Mrs. James Garivaltis Tanglewood/ Boston Liaison

The Hartt School of Music of the University Mr. William Graulty ot Hartford ofters a wide range of degree Community Affairs programs: Mr. Richard S. Jackson, Jr. Nominating Committee Bachelor of Music Master of Music Mrs. Karl Lipsky Fellowship Students Master of Music Education Kodaly Certificate (KMTI) Mrs. Anthony Massimiano Sales and Information Artist Diploma Doctor of Musical Arts Mrs. Arthur Paddock Tea Dance Whatever the program, our primary concern Ms. Julia Polk is the personal and artistic development of Fellowship Students each student as a total musician, prepared for Mrs. George Ripley a career as a performer, teacher and creative Talks & Walks artist. If you'd like to know more about us, Mrs. William H. Ryan call 203-243-4115 or write for our color Seranak brochure. We're closer than you think. Mr. Leon Siegel Hartt School of Music Business University of Hartford Mr. Robert A. Wells Nominating Committee West Hartford, CT 061 17

School of Music .

m\d-^f^ THC eirrco chilo TOYS ACCESSORIES CLOTHING

\F^X BORS TO THES

CAMP GIFTS

69 CHURCH STREET LENOX MASSACHUSETTS 01240 COLDUieiX BANKER LOS GflTOSde Lenox, 30 Church St., Lenox, MA • 413-637-1271 ^^^ Picnic Ba8ket8,clothing, arts & ISGOOD REALTY wJ_^ crafts from Latin America '^ Birchwood Village Townhouses ^ '' Gifts for people as nutsy about cats as we are The custom designed Antiques & Collectibles condominiums in from more innocent times. Thurs.-Mon. Lenox, Massachusetts noon to six Call 443-441 9 or 637-1401 lenox, inc. . of . efc NORA'S For the Young at Heart W:>rki ofRishions Gifts and Stationery

from sin:\ple to simply elegant

Largest selection of Danskin in Lenox 30 Church Street, Lenox

333 Pittsfield-Lenox Road Village Shopping Centre (413) 637-3083 413-637-3253 Lenox. Massachusetts 01240

Summer is our time gOUTH moot to shine.

hand knitted sweaters

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OUR KITCHEN . . . THE LEMON TREE AND YOU WILL SEE SIMMERING STOCKPOTS, FRENCH WHIPS, AND ROLLING PINS—

THE TOOLS OF A RESTAURANT THAT DOES ITS Gifts "COOKING FROM SCRATCH Enjoy Our New Piano Bar 1 Accessories Apparel

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new * vintage (Be(Mml(§ye & antique CLOTHING & JEWELRY The Gourmet's Picnic Service of Stockbridge & Lenox • Offering Distinctive "ol fresco" Feasts LENOX, For Connoisseurs of Outdoor Dining 637-0088 Reservations Required W. STOCKBRIDGE, Visa and MasterCard Accepted 232-7177 (413)298-4010/298-4059

O'BRIEN FLORAL OF LENOX <4i/' -V 102 MAIN STREET ^^" P.O. BOX 1641 LENOX. MASS. 01240

LENOX & WILLIAMSTOWN, MASSACHUSETTS 413-637-0210 MEN'S & WOMEN'S DISCOUNT SWEATERS & KNIT SHIRTS

OPEN MON - FR1 1 0-9 SAT 1 0-6 SUN 12-5 .

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A Vast Selection of BARGAIN PRICED 2 miles east of Canaan stop light Closeouts & Overrun L.P.'s & Cassettes Plus- Major Labels at Substantial Discounts. 428 Pittsfield-Lenox Rd. ROUTE 44 SALISBURY, CT. Lenox, Mass. 01240 Fine Food, Drink and Lodging 413-637-2415 at Sensible Prices Stop in or Write & Let Us Put You on Our Mailing List. MOTEL RESTAURANT 11:30-5:30 Mon.-Sat. 203-824-0670

thiifMidkp ^h boutique. 83 church 5f n 7 srocKbndqe

lemx I bIKsrf Red Lmlw (oil -0900 298-4025

"you CQio nei/er be too rich, too Of 5UKlto/"

SOUTH MOUNTAIN CONCERTS Pittsfield, Massachusetts 65th Season of Chamber Music ALBERT SCHWEITZER Aug. 6, Empire Brass Quintet CENTER

Aug. 20, Beaux Arts Trio //7ms, wildlife sanctuary, Sept. 4, Vermeer String Quartet library, museum, children's garden Sept. 18, Juilliard String Quartet Open to Visitors Sept. 25, Emerson String Quartet Tuesday-Sunday 10-4 For Brochure and Ticket Information Write Groups by appointment South Mounteun Concerts Box 23 Hurlburt Road Great Barrington, Massachusetts Pittsfield, Massachusetts 01202 Box Office 413 442-2106 413-528-3124

'fg^mk:^^ DAYS IN THE ARTS

Days In The Arts (DARTS), a program sponsored by the Boston Symphony Orchestra in cooperation with the Boston Public Schools, brings 350 fifth- and sixth-grade students from Boston, Cambridge, Somerville, and the surrounding suburban communities of Boxford, Brookline, Ashland, Melrose, Newton, Waltham, Framingham, and Topsfield to Tanglewood each summer for a five-day living and learning experience in the arts. The Boston Symphony Orchestra and the hundreds of DARTS participants express their deep appreciation to the participating school systems and to the following corporations and foundations whose support makes the program possible:

The Boston Safe Deposit Charitable Trusts, The Cambridge Foundation, The Clipper Ship Foundation, Honeywell, The NEBS Foundation, The Theodore Edson Parker Foundation, The Polaroid Foundation, The Schrafft Charitable Trust, and The Charles Irwin Travelli Fund have contributed through the Associated Grantmakers of Massachusetts

summer funding process. In addition, support is received from The Alice Willard Dorr Foundation, The Arthur D. Little Foundation, Parker Brothers, The Stride Rite Charitable Foundation, and many individual members of the Council and Junior Council of the Boston Symphony Orchestra.

Days In The Arts is a total learning, performing, and living experience that makes a difference in the tastes and attitudes of the youngsters and enhances the way they will live their lives. . . .

HANCOCK SHAKER MLIAGE COMMUNITY INDUSTRIES

Featuring American Regional Cuisine Hearty Breakfasts, 8 to 12:30 daily English Tea, 3:30 to 5:00 daily Hardwood Investments Dinners, 5:30 to 10:00 daily except Tues. Hancock Shaker Village Community Industries' wood- After Concert Light Supper,

workers are "resuming " fine Shaker furniture production 10:30 to 12:30 Thurs. thru Sat. techniques. detailed, solid wood casepieces, tables, Their Village Tavern Open Daily oval boxes, chairs, peg rail and mirrors are now available Serving Sandw^iches & Summer Salads for purchase. For details or catcilog: Box 898, Pittsfield, MA 01202. CaD 413-442-8381. Visit the shop. Route 20, 5 16 Church Street, Lenox, MA 01240 miles west of Pittsfield. 413 637-0020

10

' WHITE Be The symphonies Eft

]\i of Tanglewood in the Summer, at Stockbridge (

the brilliant bronze & gold 11=

foliage of Fall, Piti

cross-country & downhill Drf . next year. 601 skiing in Winter WALK to Tanglewood lee and the old-fashioned charm from your own luxury Lipt of lilacs in the Spring. condominium 458 Rtti

on a quiet country estate flu

of unspoiled woodlands. .

of dramatic mountain views. . next to Stockbridge Bowl For a detailed list on Hawthorne Road of fine Shops, Restaurants & Inns \'ew write to Lenox Chamber of Commerce, Please write for more information Qtv k Box 646, Lenox, Massachusetts 01240 or call for an appointment 11? N or telephone 413 637 3646.

Post Office Box 949 Dept. T Stockbridge, MA 01262 /413 637 1140 orRelnhiolt Realty/413 637 1251 or 298 3664 Ber^i

Year- Round Elegance for Over a Century!

fpi/f.

-»K«W- vmfii^ The businesses listed below have all contributed to Tanglewood. By giving $200 or more, each business has become a Business Friend of Tanglewood in 1983. We are very grateful for their support. We encourage you to patronize the following businesses in appreciation of their commitment to Tanglewood. Leon L. Siegel Berkshire Business Committee (Please note that the following list includes names submitted by July 5, 1983 and will be updated later this summer.)

Ambulatory & Emergency Gelfand, Rennert & McCormick & Toole Medical Care Feldman 397 North Street 510 Emergency Walk-In 489 Fifth Avenue Pittsfield, MA 510 North Street New York, NY Reynolds, Barnes & Hebb Pittsfield, MA Lee National Bank 166 East Street 76 Park Street Pittsfield, MA Auto Dealers Lee, MA Ernest Sagalyn Central Berkshire New Car Lenox National Bank 120 South Street Dealers 7 Main Street Pittsfield, MA P.O. Box 926 Lenox, MA Stevenson & Co. Pittsfield, MA Lenox Savings Bank 34 North Street 35 Main Street Pittsfield, MA Camps Lenox, MA Pittsfield Co-Operative Legal Camp Greylock for Boys Bank Howland & Sheppard, P.C. Becket, MA 70 South Street Amherst, MA Camp MAH-KEE-NAC Pittsfield, MA Bernard Turiel, P.C. Lenox, MA One Penn Plaza Home Supplies 250 West 34th Street Energy Carr Hardware New York, NY The Berkshire Gas 537 North Street Manufacturing Company Pittsfield, MA Highpoint Folding 115 Cheshire Road Dettinger Lumber Pittsfield, MA Box Corporation 24 Warren Terrace 337 Plymouth Avenue Dresser-Hull Pittsfield, MA Fall River, MA 60 Railroad Street C.M. Farrell & Sons Lee, MA Sheaffer Eaton 51 South Church Street 75 South Church Street Lipton Energy Pittsfield, MA Pittsfield, MA 458 South Street Pittsfield Supply Pittsfield, MA 501 North Street Medical Pittsfield, MA Dr. Jeffrey Kochman Finance 60 West Street Bank of Boston Industry Lenox, MA Pittsfield, MA Sprague Electric Company Physicians North Adams, MA Citibank, N.A. Berkshire Orthopedic 399 Park Avenue Walden Printing Company Associates, Inc. New York, NY 63 Orange Avenue Walden, NY 41 Wahconah Street City Savings Bank of Pittsfield, MA Pittsfield Insurance Berkshire Radiological 116 North Street Associates Pittsfield, MA Bradford Brownlow & Pittsfield, MA Credit Suisse Associates 100 Wall Street Berkshire Common Professional New York, NY Pittsfield, MA Canter, Achenbaum, First Albany Corporation Colt Insurance Associates, Inc. Berkshire Common 101 South Street 950 Third Avenue Pittsfield, MA Pittsfield, MA New York, NY Realtors Where to Shop Mazzer's Lenox News & Barnbrook Realty, Inc. Adams Super Markets Variety 72 Stockbridge Road Corp. 39 Housatonic Street Great Barrington, MA Adams, MA Lenox, MA Evergreen Realty Bazaar Stores Mazzer's Variety & Package 140 South Street 1145 Third Avenue Store Pittsfield, MA New York, NY 1 Wilson Street Pittsfield, MA Ruffer Realtors Besse Clarke Price Chopper (Golub Corp) 163 North Street 273 North Street Pittsfield, MA 501 Duanesburg Road Pittsfield, MA Schenectady, N.Y. White Pines at Stockbridge P.O. Box 949 Country Curtains The Record Store Stockbridge, MA Main Street 67 Spring Street Stockbridge, MA Williamstown, MA Schools Elise Farar, Inc. The Talbot Berkshire Country Day 361 Pittsfield Road Lenox, MA School Lenox, MA Ward's Nursery Lenox, MA England Brothers 300 South Main Street 89 North Street Great Barrington, MA Where to Eat Pittsfield, MA Zayre Stores Framingham, MA Foxhollow Resort Jenifer House Route 7 Great Barrington, MA Lenox, MA Where to Stay Morgan House Lemon Tree The Apple Tree Inn 33 Main Street 102 Main Street 224 West Street Lee, MA Lenox, MA Lenox, MA Paulo's at Wheatleigh Lenox Kites Foxhollow Resort West Hawthorne 98 Main Street Route 7 Lenox, MA Lenox, MA Lenox, MA Laurel Hill Motel Butler Wholesale Kaybee Toy & Hobby Shops Route 20 Pleasant Street Pittsfield, MA Lee, MA Adams, MA Kelly-Dietrich, Inc. Quincy Lodge Butternut Basin 1265 East Street 19 Stockbridge Road Hurlbut Road Pittsfield, MA Lenox, MA Great Barrington, MA Lee Lime Red Lion Inn Clarke-Aiken Company Quarry Street Stockbridge, MA Water Street Lee, MA Susse Chalet Motor Lodge Lee, MA Lenox, MA Colonial Consulting Lipton Steel & Metal Products, Inc. The Village Inn Corporation Inc. R.R. 42 Indian Trail 458 South Street 16 Church Street Pittsfield, MA Lenox, MA Brookfield, CT Wheatleigh Crane and Company Merchant DuVin West Hawthorne Byron Weston Company Corporation Lenox, MA South & Main Streets Lenox, MA The Williams Inn Dalton, MA Petricca Industries Williamstown, MA Damon Corporation P.O. Box 1145 Windflower Inn, Inc. 115 Fourth Street Pittsfield, MA Route 23 Needham Heights, MA Pincus Ohrenstein Bizar Egremont Star Route, Exclusive Envelope Corp. 153 East 53rd Street Box 25 58-51 Maspeth Avenue D'Alessandro and Solomon Great Barrington, MA Maspeth, NY New York, NY Joseph Francese, Inc. Pittsfield News 551 Fenn Street 27 Reed Street Pittsfield, MA Pittsfield, MA Other General Electric Company ALNASCO 100 Woodlawn Avenue Shapiro & Sons Pittsfield, MA Pittsfield, MA 341 Ashland Street North Adams, MA Beloit Corporation J. Gerber & Co., Inc. Jones Division 855 Avenue of the Americas Sol Mutterperl Company Dalton, MA New York, NY P.O. Box G-830 358 Belleville Avenue Berkshire Broadcasting Harold Johansson New Bedford, MA North Adams, MA Lee, MA Berkshire Hills Regional Hickey-Birches Funeral Studley Press School District Home 151 East Housatonic Street Main Street 33 South Street Dalton, MA Stockbridge, MA Great Barrington, MA Syms, Inc. C.T. Brigham International Television 300 Chubb Avenue 1561 East Street Trading Co. Lyndhurst, NJ Pittsfield, MA P.O. Box 365 Main Street Tervakoski USA, Inc. Business Services for Lenox, MA Medicine, Inc. South Egremont, MA 69 Federal Street ITAM Lodge #564 James M. Weber Sales Co. Pittsfield, MA Pittsfield, MA West Stockbridge, MA A little out of the way.

u O n * A lot out of the ordinary.

Surprise. A Square in the country that's anything but. An unusual marketplace brimming with uncommon pleasures. A restaurant whose decor kaleidoscopes with the seasons. A spirited tavern. The mingling of brick, wood, and stone walls. A Square where you can savor creative cuisine and wander through extraordinary Settings. Where you'll find singular luxuries to surround yourseff with. Exquisite ac- cessories. Delicious colors. Things selected from all over the world for their unique appeal. You will find the Square in

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^^^mfsf^w^^ iai»l COMING CONCERTS AT TANGLEWOOD

Saturday, 23 July at 8:30 Sunday, 31 July at 2:30 BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA ANDRE PREVIN, conductor SEIJI OZAWA, conductor ANDRAS SCHIFF, piano YO-YO MA, cello ALL-MOZART PROGRAM BRAHMS Overture to The Impresario Symphony No. 3 Piano Concerto No. 9 DVORAK in E-flat, K.271 Cello Concerto Symphony No. 39

Sunday, 24 July at 2:30 Wednesday, 3 August at 8:30 BOSTON SYMPHONY ORCHESTRA (Theatre-Concert Hall) CHRISTOPHER HOGWOOD, conductor YO-YO MA, cello HANDEL EMANUEL AX, piano Water Music Music of Beethoven and Brahms HAYDN Symphony No. 104, London Thursday, 4 August at 8:30 Thursday, 28 July at 8:30 Dress rehearsal for Gluck's Orfeo (Theatre-Concert Hall) ed Euridice; see 6 August BENJAMIN LUXON, baritone ANDRE PREVIN, piano Music of Schubert and Brahms, Friday, 5 August at 7 and Victorian songs (Weekend Prelude) MEMBERS of the BOSTON SYMPHONY Friday, 29 July at 7 ORCHESTRA (Weekend Prelude) Tchaikovsky Souvenir de Florence, Op. 70 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Friday, 5 August at 9 Music of Brahms BOSTON SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH, conductor Friday, 29 July at 9 EMANUEL AX, piano BOSTON SYMPHONY ORCHESTRA BEETHOVEN KLAUS TENNSTEDT, conductor Piano Concerto No. 5, Emperor MAUREEN FORRESTER, contralto MEN of the TANGLEWOOD FESTIVAL TCHAIKOVSKY CHORUS, JOHN OLIVER, conductor Symphony No. 6, Pathetique BRAHMS Alto Rhapsody Saturday, 6 August at 8:30 BRUCKNER BOSTON SYMPHONY ORCHESTRA Symphony No. 4, Romantic SEIJI OZAWA, conductor MARILYN HORNE, mezzo-soprano Saturday, 30 July at 8:30 BENITA VALENTE, soprano BOSTON SYMPHONY ORCHESTRA ERIE MILLS, soprano KLAUS TENNSTEDT, conductor TANGLEWOOD FESTIVAL CHORUS, ESTHER HINDS, soprano JOHN OLIVER, conductor BENJAMIN LUXON, baritone Stage direction: David Kneuss TANGLEWOOD FESTIVAL CHORUS, Set design: John Michael Deegan JOHN OLIVER, conductor Costume design: Sarah G. Conly BRAHMS GLUCK A German Requiem Orfeo ed Euridice It i*St Stocl^ridge :xPR A COUNTRY ESCAPADE" VIETNAMESE RESTAURANT If you're looking for country fun A True Orient Expression, and collectibles. French/Vietnamese food West Stockbridge, prepared to perfection Mass. is a and served with tender, natural loving care, along ^ place the banks of the to look. Williams ^= River.

West Stockbridge, Massachusetts (413) 232-7 1 20 ^^^-i^^

ffll^Htbribgr 3nn Shaker Mill Tavern "AN ISLAND IN THE MOUNTAINS" Discover Switzerland in the A friendly atmosphere, outdoor Berkshires. Enjoy true seafood cafe, terrific food, European hospitality exciting entertainment, and Swiss Cuisine great fun, within the come settings of join us. this Historic Inn.

^"^TTTmTTTrm

Massachusetts (413) 232-8565 West Stockbridge, Massachusetts (413) I'il-A'IQA West Stockbridge, wood paper blown & flat glass

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the attention to beauty and perfection you would expect from Americas | new breed of designer and master ® craftspeople ^

functional & collector pieces Sunday, 7 August at 2:30 BEETHOVEN BOSTON SYMPHONY ORCHESTRA Symphony No. 3, Eroica CHRISTOPH ESCHENBACH, conductor and pianist Sunday, 14 August at 2:30 ALL-MOZART PROGRAM BOSTON SYMPHONY ORCHESTRA Serenade No. 6 in D, K.239, SEIJI OZAWA, conductor Serenata notturna PETER SERKIN, piano Piano Concerto No. 23 in A, K.488 HAYDN Symphony No. 41, Jupiter Overture to Armida LIEBERSON Thursday, 11 August at 8:30 Piano Concerto (commissioned by the (Theatre-Concert Hall) Boston Symphony Orchestra for PETER SERKIN, piano its centennial) Music of Beethoven DVORAK Symphony No. 6 Friday, 12 August at 7 (Weekend Prelude) Thursday, 18 August at 8:30 JOSEPH SILVERSTEIN, violin (Theatre-Concert Hall) ANDRE PREVIN, piano SEQUOIA STRING QUARTET Music of Brahms and Franck Music of Mozart, Adam, Babbitt, and Beethoven Friday, 12 August at 9 Friday, 19 August at 7 BOSTON SYMPHONY ORCHESTRA (Weekend Prelude) SEIJI OZAWA, conductor PETER ZAZOFSKY, violin ALL-BRAHMS PROGRAM GILBERT KALISH, piano Symphony No. 4 Symphony No. 2 Music of Brahms and Prokofiev

Friday, 19 August at 9 Saturday, 13 August at 8:30 BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA ANDRE PREVIN, conductor LEONARD BERNSTEIN, conductor HORACIO GUTIERREZ, piano GAIL DUBINBAUM, mezzo-soprano HAYDN COPLAND Symphony No. 92, Oxford An Outdoor Overture BRAHMS BERNSTEIN Piano Concerto No. 2 Symphony No. 1, Jeremiah SA/t^

Rumor /las it there's a European hotel hidden in the Berk-

shire Hills. Exquisite. A private palace. Witd a dining

experience to tantalize all your senses. Where tranquil

opulence is sparked by inventive cuisine. While you feast upon the deliberate artistry of a Swiss chef, savor the fine art that surrounds you. Relax over lunch. Delight in dinner

Linger after a performance. Explore the grounds. Spend the

it. find it night if you like. You see, once you find you may hard to leave. But you'll have to see for yourself Surprised?

Don't be. \t might just be the Berkshires most elegantly

kept secret.

at Wheatleigh

Lenox • 413-637-0610 L Saturday, 20 August at 8:30 Friday, 26 August at 9 BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA JOSEPH SILVERSTEIN, conductor CHARLES DUTOIT, conductor PETER ZAZOFSKY, violin TANGLEWOOD FESTIVAL CHORUS, WEBER JOHN OLIVER, conductor Overture to Der Freischiitz HAYDN BERNSTEIN Symphony No. 97 Serenade for violin solo, RAVEL strings, and percussion Daphnis and Chloe (complete) SIBELIUS Symphony No. 1 Saturday, 27 August at 8:30 BOSTON SYMPHONY ORCHESTRA Sunday, 21 August at 2:30 CHARLES DUTOIT, conductor BOSTON SYMPHONY ORCHESTRA IVO POGORELICH, piano ANDRE PREVIN, conductor MOZART DORIOT ANTHONY DWYER, flute Overture to Don Giovanni ANN HOBSON PILOT, harp CHOPIN BRAHMS Piano Concerto No. 2 Academic Festival Overture SIBELIUS MOZART Symphony No. 2 Concerto in C for flute and harp, K.299 Sunday, 28 August at 2:30 VAUGHAN WILLIAMS BOSTON SYMPHONY ORCHESTRA Fantasia on a Theme of SEIJI OZAWA, conductor Thomas Tallis JESSYE NORMAN, soprano BRITTEN WOMEN of the TANGLEWOOD Variations and Fugue on a FESTIVAL CHORUS, Theme of Purcell JOHN OLIVER, conductor BOSTON BOY CHOIR, Thursday, 25 August THEODORE MARIER, director MAHLER TANGLEWOOD ON PARADE Symphony No. 3 Afternoon events beginning at 2:30 (Gates open at 2) Gala concert at 9 with the Programs subject to change. BOSTON SYMPHONY ORCHESTRA BERKSHIRE MUSIC CENTER ORCHESTRA BOSTON UNIVERSITY YOUNG ARTISTS ORCHESTRA LESLIE J. GARFIELD SEIJI OZAWA, GUNTHER SCHULLER, & CO., INC. JOHN WILLIAMS, and JOSEPH REAL ESTATE SILVERSTEIN, conductors Program to include: BERNSTEIN SALES SPECIAL Symphonic Dances from IN MANHAT, West Side Story TCHAIKOVSKY 1812 Overture TOWNHOUSES 7 MOMS INVESTM TR OP Friday, 26 August at 7 (Weekend Prelude) 595 Ma iso Avenue IVO POGORELICH, piano New York, N.Y. 10022 Music of Scarlatti and Prokofiev (212) 371-820 1 !

CHESTERWGDD

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(England's (^mericana (Marketplace GREAT BARRINGTON, MASS. B In the Big Red Barns on Stockbridge Road, Route 7 1 Mile Forth of Great Barrington Telephone 413-528-1500

Remember, you haven't seen the Berkshires if you haven't seen JENIFER HOUSE! ? 1^ " THE BERKSHIRE MUSIC CENTER IS OUR INVESTMENT IN THE FUTURE —Boston Symphony V/1OF \jyjOf inMS. AKT'* AMXr* Music Director, SeijiOzawa

For Seiji Ozawa, a summer spent 22 years ago as a student at the Berkshire Music Center was the catalyst for his professional career. Founded in 1940, the Berkshire Music Center represented the fulfillment of Serge Koussevitzky*s vision of what a summer music festival should

comprise. Today, the BMC continues as this country *s preeminent academy for advanced musical study and performance, administered and financed by a symphony orchestra. Under Artistic Director Gunther Schuller, the BMC offers young instrumentalists, singers, conductors, and composers an incomparable eight'Week musical program from which they graduate as seasoned musicians. The BMC*s alumni include conductors Claudio Abbado, Leonard Bernstein, Luciano Berio, and Zubin Mehta; singers Sherrill Milnes, Leontyne Price, and Shirley Verrett; and composers as diverse as Burt Bacharach and Lukas Foss. Currently more than 18 percent of all musicians in this country's major symphony orchestras and 35 percent of all principal players in those orchestras have attended the BMC. Since the principal criterion for admission to the BMC is musical, not financial, the BMC necessarily operates at a substantial loss to the BSO each year. Please show your support for this remarkable resource by making a contribution to the Berkshire Music Center and to the future of music itself.

Please make checks payable to the Boston Symphony Orchestra and mall to the Friends' Office, Tanglewood, Lenox. Mass. 01240. For further Information, please contact Joyce Serwitz In the Friends' Office at Tanglewood, or call (413) 637-1600. THE BERKSHIRE MUSIC CENTER AT TANGLEWOOD 1983 Concert Schedule

Monday, 4 July at 2 p.m. Saturday, 30 July at 2:30 p.m. Berkshire Music Center Young Artists Orchestra and Chorus Opening Exercises Jahja Ling conducting (admission free; Respighi Ancient Airs and Dances open to the public) Mozart "Gloria" from Mass No. 12 Brahms "How lovely is thy dwelling place' Tuesday, 12 July at 8:30 p.m. from German Requiem Berkshire Music Center Orchestra A Brahms Song of Destiny Seiji Ozawa and Tchaikovsky No. Conducting Fellows conducting Symphony 2, Little Russian Program to include Beethoven Egmont Overture Sunday, 31 July at 10 a.m. Bernstein Symphonic Dances Chamber Music — Fellows from West Side Story Sunday, 31 July at 8:30 p.m. Vocal Recital Fellows Wednesday, 13 July at 8:30 p.m. — Vocal and Chamber Music — Fellows Monday, 1 August at 8:30 p.m. Berkshire Music Center Orchestra Saturday, 16 July at 2:30 p.m. Andre Previn and Chamber Music — Young Artists Conducting Fellows conducting Sunday, 17 July at 10 a.m. Program to include Music Fellows Chamber — Tchaikovsky Symphony No. 5

Monday, 18 July at 8:30 p.m. Saturday, 6 August at 2:30 p.m. Berkshire Music Center Orchestra Chamber Music — Young Artists Gunther Schuller and Sunday, 7 August at 10 a.m. Conducting Fellows conducting Chamber Music — Fellows Program to include Shostakovich Symphony No. 15 Sunday, 7 August at 8:30 p.m. Chamber Music — Fellows Wednesday, 20 July at 8:30 p.m. Young Artists Orchestra Monday, 8 August at 8:30 p.m. Jahja Ling conducting Berkshire Music Center Orchestra Leonard Bernstein Copland An Outdoor Overture and Schubert Symphony No. 5 Conducting Fellows conducting Dvorak Symphony No. 8 Program to include Berlioz Romeo and Juliet Saturday, 23 July at 2:30 p.m. orchestral excerpts Chamber Music — Young Artists Tuesday, 9 August at 8:30 p.m. Sunday, 24 July at 10 a.m. Vocal Recital — Fellows Chamber Music — Fellows Wednesday, 10 August at 8:30 p.m. Sunday, 24 July at 8:30 p.m. Young Artists Orchestra Vocal Recital — Fellows Victor Yampolsky conducting Monday, 25 July at 8:30 p.m. Program to include Chamber Music — Young Artists Mendelssohn Symphony No. 3, Scottish Bizet L'Arlesienne Suite Tuesday, 26 July at 8:30 p.m. Berkshire Music Center Orchestra Saturday 13, August through Gustav Meier and Thursday, 18 August Conducting Fellows conducting FESTIVAL OF Program to include CONTEMPORARY MUSIC Weber Overture to Oberon Saturday, 13 August Beethoven Symphony No. 2 — Festival Preview at 1:30 p.m. Wednesday, 27 July at 8:30 p.m. (Tanglewood Tent)

Chamber Music — Fellows — Concert I at 2:30 p.m. BEL LEFONT A I N E

A 96-acre estate restored to its turn-of-the-centuty elegance. i

Experience the best of two worlds. The majestic splendor of a country gentleman's estate of yesteryear blends with the comforts and amenities of today — at beautiful Bellefontaine. Now available in luxuriously furnished Victorian condominium suites. From ninety-thousand, fully furnished, with excellent financing available. Only 80 suites to be sold here

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Please visit the property. Kemble Street Lenox, Mass. (637-2170) Sunday, 14 August at 2:30 p.m.

— Concert II: Boston Symphony Orchestra, Seiji Ozawa conducting* Sunday, 14 August at 8:30 p.m. — Concert III Monday, 15 August at 8:30 p.m. — Concert IV Tuesday, 16 August at 8:30 p.m. — Concert V Wednesday, 17 August at 8:30 p.m. — Concert VI: Berkshire Music Center Orchestra, Gunther Schuller conducting Thursday, 18 August at 8:30 p.m. — Concert VII*

Sunday, 14 August at 10 a.m. Chamber Music — Fellows Saturday, 20 August at 2:30 p.m. Chamber Music — Young Artists Saturday, 27 August at 2:30 p.m. Berkshire Music Center Orchestra Sunday, 21 August at 10 a.m. Conducting Fellows conducting Chamber Music — Fellows Young Artists Orchestra Sunday, 21 August at 8:30 p.m. Victor Yampolsky conducting Vocal Recital — Fellows Program to be announced

Monday, 22 August at 8:30 p.m. Sunday, 28 August at 10 a.m. Chamber Music — Fellows Chamber Music — Fellows 23 August at 8:30 p.m. Tuesday, Schedule subject to change. Chamber Music — Young Artists Current information Wednesday, 24 August at 8:30 p.m. available each week Vocal Recital — Fellows at the Tanglewood Main Gate. Thursday, 25 August Except where noted, admission TANGLEWOOD ON PARADE is by a $4 donation for chamber (Afternoon events beginning at 2:30, music and vocal concerts, and by followed by gala orchestra concert at 9 a $5 donation for orchestra concerts. featuring the Berkshire Music Center Members of the Friends of Music and Young Artists orchestras, and the at Tanglewood are admitted to all Boston Symphony Orchestra)* Berkshire Music Center events without charge.

*Berkshire Festival ticket required

Programs designated "Fellows" events are performed by members of the Berkshire Music Center's Fellowship Program for advanced young performers 18 years of age and older. The Berkshire Music Center Orchestra is comprised of members of the Fellowship Program. Programs designated "Young Artists" events are performed by members of the Boston University Tanglewood Institute's Young Artists Instrumental and Vocal Programs for high-school age musicians.

"Tanglewood on Parade" is a day-long series of concert performances and other events highlighting the entire spectrum of Tanglewood performance activities, including the Berkshire Music Center Fellowship Program, the Boston University Tanglewood Institute's Young Artists Program, and the Boston Symphony Orchestra itself. "Tanglewood on Parade" is presented as a benefit for the Berkshire Music Center and concludes with a gala concert at 9:00 p.m. featuring the Boston Symphony Orchestra, the Berkshire Music Center Orchestra, the Young Artists Orchestra, and conductors Seiji Ozawa, Gunther Schuller, John Williams, and Joseph Silverstein. Berkshire Festival tickets are required and are available at the Tanglewood box office. IF YOU LIKE THE ARTS YOU'LL LOVE. ^v^

Main Street LOCATED IN HISTORIC CHATHAM 9 MAIN STREET CHATHAM, N.Y. 12037 (518) 392-9044

10:00 AM - 5:30 PM MON - SAT Fine Italian Cuisine International Photo Engravings, Antique: Furniture, Thurs.-Sat. 11:30 a.m.-12:30 a.m. Books, Music. Contemporary Graphics and Posters in the SHOP NEXT DOOR. Sun.-VVed. 11:30 a.m.-lO p.m. ROSLYN BREMER. Proprietor At C.anesh - 90 ( hurch Street. Lenox 637-2640

to order call i ('"^6371785

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Fabulous c55 ^Movable Teast Picnics of Lenox. Mass.® Cjold Qoutfnet^oup Mchyssoise Gazpacho AtA potato leek base @ tomato base sour cream & dill thick & smooth topping crisp veggie topping and

' ^^Salade de ^Tbulet a la Debussy Moment's chunks of chicken, whole grapes, walnut halves with accent of tarragon @ Notice ^oeufa la^ra/Tms tender slices of marinated steak scr\cd on a bed of Oriental Rice Hours: Thursday ginger & scallion accents. 10 am - 7 pm /; Fri & Sat Elegante Qeesecakg /J 10 am-8 pm included with the above: Sunday freshly baked homemade bread 95 10 am -2 pm y napkin & cutlery provided $6 plus tax July & August J 1 I

The Members Of WAMC Bring You Live Broadcasts Of The BSO From Tanglewood All Summer Long*

Please Join Us. UIAIilC/903 NATIONAL PUBLICRADIO

For Program & Membership Information Write WAMC P.O. Box 13000, Albany, NY 12212

U

18th Century Charm*

Superb dining is a traditional pleasure at The Williamsville Inn. A country French cuisine creates the most delicious veal, lamb, duckling, beef and seafoods, comple- mented by piquant appetizers, savory soups, crisp and tangy salads, irresistible homemade breads and pastries. Our dining room is open every evening during July and August. For reservations, call 274-6580. urie M. Wise

Contemporary fine art jeweiry THE Custom design service Colored gemstones WILLAMSVILLE Antique jewelry INN

We are located on Route 4 t & Ife NNIse J| midway between A. Goldsmiths i West Stockbridge and Great Barrington. I J V^81 Church St. (413) 637-1589 Carl and Elizabeth. Atkinson, Innkeepers M Lenox, Massachusetts 01240 THAT IS! The next time you're fiddling with the dial, turn to 89.1 FM. You may find that you're serious about your music, too.

WMHT 89.1 FM Stereo classical music 24 hours a day. C ROSBY'S

,,- • THE GOURMET FOOD SHOP

STARTERS Cdr I QUICHE, SMOKED SALMON PATE, HOUSE PATE, CHICKEN LIVER PATE WITH BRANDY, PATE DE CAMPAGNE, CRUDITE/TAPIENADE, PROSCIUTTO AND MELON, ANTIPASTO, SALMON MOUSSE WITH DILL SAUCE, PURÉE OF WHITE BEANS WITH TAHINI, BROOK TROUT WITH HORSERADISH SAUCE, MARINATED SHRIMP, HAM MOUSSE, SOUPS TOMATO AND DILL, CREAM OF WATERCRESS, BORSCHT, GAZPACHO, BLACK BEAN, SORREL, LENTIL, SPINACH, PEPPER AND LEEKS, CONSOMME, ZUCCHINI, CARROT, VICHYSSOISE, CREAM OF TOMATO, MUSHROOM A LA OLGA SALADS At7=17 CURRIED CHICKEN WITH GRAPES, NEW POTATO, ORIENTAL CHICKEN, TOMATO, WILD RICE AND PIGNOLI, ZITI, TUNA AND WHITE BEAN, RATATOULLE, BASIL AND FLAGEOLET, COLD PASTA WITH ANCHOVIES AND BLACK OLIVES, TORTELLINI AND BLACK FOREST HAM, CARROTS WITH THYME, LOBSTER, CRAB, LEEKS VINAIGRETTE, MUSHROOMS X LA'GRECQUE, WHITE BEANS WITH CAVIAR, STUFFED TOMATOES, ROBIN'S GINGER CHICKEN, ENTREES BAKED HAM, CHICKEN CURRY, LASAGNA, VEAL TONNATO, BAKED FISH IN CRUMBS, SWEDISH MEAT BALLS, PORK WITH GREEN PEPPER MAYONNAISE, FILET OF BEEF, VEAL MARENGO, STUFFED ONION, ZUCCHINI OR PEPPER, FRIED CHICKEN, ROAST BEEF, COQ AU VIN, SOLE STUFFED WITH CRAB MEAT, BEEF BURGUNDY, CHICKEN KIEV, STUFFED CHICKEN BREAST, VEAL ORLOFF, DESSERTS PECAN PIE, PROFITEROLES, OLD FASHION CHOCOLATE LAYER CAKE, LEMON MOUSSE, BRANDIED FRUIT SALAD, CHOCOLATE TORTE, CHEESE CAKE, COOKIES, RUGULACH, POACHED PEARS IN RED WINE, CHOCOLATE MOUSSE, LEMON SQUARES, BROWNIES, APPLE TURNOVER, WE HAVE A SELECTION OF OVER SIXTY IMPORTED AND DOMESTIC CHEESES.

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6 FLOORS & 12 SHOPS We have the largest collection of 18th and 19th century English, Irish and Welsh country furniture and accessories from Great Britain. All our "Stripped Pine" has a rich, warm pine patina. Berkshire School Rd. & Rt. 41, Sheffield, Ma. 413-229-8307

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MUS1CA ANTIQUA I(OLN ARLEEN AUGER, SOPRANO IANIAN PARTRIDGE, DEGAETANI, TENOR MEZZO-SOPRANO THETHE BLANCHE BACH FESTIVAL MOYSE ORCHESTRA CHORALE

BLANCHE MOYSE, CONDUCTOR SANFORD SYLVAN, BASS PAULA ROBISON, FLUTE 29 SEPTEMBER 1983 OCTOBER 18 For program and ticket information write The Brattleboro Music Center Walnut Street 05301 15 ro, Vermont S021257-4523 Brattlebocall the Festival office, or jE Engineering Plastics. There could be no better setting Building A Global Future than the Berkshires for the world- class Plastics Technology Center now under construction in Pittsfield n The Berkshires. at General Electric Plastics' world headquarters.

This nnulti-nnillion-dollar. state-of- the-art facility reflects the connmit- nnent to nnaterials innovation and excellence that has nnade GE Plastics the global leader in engineering plastics technology. It reaffirms our continuing, vital role in the Berkshire connnnunity.

And it synnbolizes our pledge to people here and everywhere: to bring

good things to life through better nnaterials for safer, longer lasting products.

Join us in the exciting world of advancing nnaterials technology. Plan to visit the new GE Plastics Technology Center when it opens in 1984.

WE BRING GOOD THINGS TO LIFE. GENERAL {m) ELECTRIC :f:.i^

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